FORMS 


THE  LIBRARY 


THE  UNIVERSITY 


OF  CALIFORNIA 


LOS  ANGELES 


MUSIC  LIBRARY 


GIFT  OF 
GERALD  SCORDAN 


I     1 


2-  -2  3  £ 


5 


I/' 


THE 

LARGER  FORMS 

OF 

MUSICAL  COMPOSITION 


AN  EXHAUSTIVE  EXPLANATION  OF  THE  VARIATIONS,  RONDOS 

AND  SONATA  DESIGNS,  FOR  THE  GENERAL  STUDENT 

OF  MUSICAL  ANALYSIS,  AND  FOR  THE  SPECIAL 

STUDENT  OF  STRUCTURAL  COMPOSITION 


AUTHOR    OF 

Exercises  in  Melody-Writing;   The  Theory  and  Practice  of  Tone- 
Kelations ;   The  Material  used  in  Musical  Composition  ;   The 
Homophonic  Forms  of  Musical  Composition  ;  Elemen- 
tary Counterpoint ;  Applied  Counterpoint ; 
Lessons  in  Music  Form  ;  etc. 


THIRD  EDITION 


NEW  YORK 

G.  SCHIRMER,  INC. 
1915 


COPYRIGHT,  1915,  BY 
G.  SCHIRMER,  INC. 

25992 


Printed  in  the  U.  S.  A. 


Music  Libracf 

f\T 

5? 


TO  MY   DEAR   FRIEND 
AND 

FELLO  W-STU  DENT 

EDGAR  STILLMAN  KELLEY 


PREFACE. 


"  And  the  earth  was  without  form  and  void ;  and  darkness  was  upon 
the  face  of  the  deep." 

—  Genesis,  I,  2. 

"  Order  is  heaven's  first  law." 

—  ALEXANDER  POPE. 

"  Passion,  whether  great  or  not,  must  never  be  expressed  in  an  ex- 
aggerated manner;  and  music — even  in  the  most  ardent  moment — ought 
never  to  offend  the  ear,  but  should  always  remain  music,  whose  object  it  is 
to  give  pleasure" 

—  MOZART. 

"  Inspiration  without  methods  and  means  at  its  disposal  will  no  more 
enable  a  man  to  write  a  symphony  than  to  build  a  ship  or  a  cathedral." 
—  C.  HUBERT  H.  PARRY.     "  Evolution  of  the 
art  of  music." 

"  I  have  never  believed  it  possible  that  any  natural  or  improved  ability 
can  claim  immunity  from  the  companionship  of  the  steady,  plain,  hard- 
working qualities,  and  hope  to  gain  its  end" 

—  DICKENS.     "  David  Copperfield." 


The  present  volume  is  a  sequel  to  the  Homophonic  Forms  and  Ap- 
plied Counterpoint,  and  is  similarly  designed  for  the  use  both  of  the 
student  of  analysis,  and  the  student  of  practical  composition. 

It  claims  to  be  no  more  than  a  guide  for  the  student  through  the 
successive  stages  in  the  evolution  of  the  larger  and  largest  forms  of 
music  structure.  Therefore  the  classic  point  of  view  has  been  adopted 


Vi  PREFACE. 

and  illustrated,  not  only  because  that  would  appear  to  provide  the 
most  reliable  basis  of  technical  habit,  but  also  because  the  thorough 
knowledge  of  these  older  forms  must  precede  the  inevitable  and  desir- 
able advance  into  the  modern  ones. 

Without  attempting  any  direct  defence  of  conservatism,  the  author 
earnestly  advises  the  young  composer  to  master  these  classic  forms  by 
conscientious  solution  of  each  successive  task  given  in  the  book.  This 
will  furnish  him  with  a  basis,  both  technical  and  conceptive,  upon  which 
he  can  most  safely  and  most  fully  realize  his  personal  artistic  impres- 
sions and  convictions.  The  classic  designs  are  not  lightly  to  be  over- 
thrown, for  they  are  the  cumulative  product  of  a  gradually  dawning 
recognition  of  nature's  musical  laws,  steadily  progressing  and  crystaliz- 
ing  through  the  gathering  and  eliminating  experiences  of  master-minds 
during  many  past  centuries.  It  seems  reasonable,  therefore,  to  assume 
that  true  structural  progress  cannot  be  achieved  by  abandoning  these, 
but  rather  by  building  upon  them. 


The  student  who  desires  to  obtain  a  general  view  of  this  structural 
territory,  or  to  proceed  more  quickly,  may  limit  himself  to  the  paragraphs 
in  larger  type,  which  are  continuous  and  complete.  The  additional 
elucidations  in  smaller  type,  and  the  references,  are  co  ample  that  they, 
also,  may  be  partly  omitted  by  those  who  prefer  a  shorter,  though  some- 
what superficial,  course.  The  analytic  student  will  omit  the  given  Ex- 
ercises. The  practical  student  must  make  faithful  use  of  them. 

It  is  narrow-minded  to  assume  that  these  exercises,  and  the  persist- 
ent application  of  "  rules,"  will  hamper  genius.  They  need  not  be 
executed  coldly  and  mechanically.  Subjective,  personal,  enthusiasm 
may  course  just  as  hotly  here  as  in  the  pursuit  of  any  other  occupation ; 
and  the  student  is  nowhere  invited  to  check  this  enthusiasm  —  only  to 
control  and  guide  it.  Properly  applied  by  the  student,  these  exercises 
can  thus  only  increase  the  power  of  his  genius. 

PERCY   GOETSCHIUS. 
NEW  YORK  CITY,  September,  1915. 


TABLE  OF  CONTENTS. 


(The  numbers  in  parenthesis  refer  to  the  paragraphs.) 

PACK 

Introduction I 

DIVISION   ONE. 
THE   VARIATION-FORMS. 

Comparative  Table 2 

Chapter  I.    THE  GROUND-MOTIVE 3 

Definition  (5).  Upper  parts  (8).  Design  (9).  Licences  (10).  Methods  of 
variation  (12).  Ground-motive  in  inner  or  upper  part  (13). 

Exercise  i 18 

Chapter  II.     THE  GROUND-BASS,  OR  BASSO  OSTINATO.    .    .    .     18 
Definition  (14).     Treatment  (15-21).     In  inner  or  upper  part  (22). 

Exercise  2 28 

Chapter  III.    THE  PASSACAGLIA 29 

Original  Dance  (23).  Idealized  form  (24).  Treatment  (25-28).  Thematic 
motive  (29).  Interludes  (30).  Codetta  or  Coda  (31). 

Exercise  3 .    .    39 

Chapter  IV.    THE  CHACONNE 40 

Original  Dance  (32).  Idealized  form  (33).  Distinctive  traits  (34).  Patterns 
(35).  Variations  interrupted  (36).  Treatment  of  Tonality  (37).  Codetta  or  Coda 
(38).  The  Chaconne  Theme  (39). 

Exercise  4 58 

Chapter  V.  THE  SMALL  (OR  SIMPLE)  VARIATION-FORM.  ...  58 
Distinction  (40-41).  Theme  (42).  Treatment  (43-44).  Points  of  contact 
between  Theme  and  Variations  (45).  Patterns  (46).  The  Melody  as  guide  (47). 
Its  treatment  (48).  The  Chords  as  guide  (49).  The  Bass  as  guide  (50).  The 
Structural  design  as  guide  (52).  Unessential  extensions  (53).  Alterations  of  a  gen- 
eral character :  Mode  (540)  ;  Key  (54/5) ;  Meter  (54^);  Style  (54^)  ;  Rhythm 
Double-variation  (54/).  Interlude  (54^).  Codetta  or  Coda  (s$a,  V).  Finale 

Exercise  5 81 

Chapter  VI.    THE  LARGE  (OR  HIGHER)  VARIATION-FORM.      .    .    82 
Distinction  (56-60).     Modifications  of  the  form  (61-62).     Insertions:  Codettas 
(630);   Duplications  (63^);    Entire_Part  (63*:).    Extraneous  additions  (65).     Varia- 
tions as  a  whole  (66). 

Exercise  6 92 

vii 


Vlil  CONTENTS. 

DIVISION    TWO. 
THE   RONDO-FORMS. 

PAGE 

Introduction :  Constructive  Basis  (67).  Definition  of  Theme  (68).  Structural 
principle  of  all  Rondo  designs  (70). 

Chapter  VII.    THE  FIRST  RONDO  FORM 94 

Diagram  (71).  Principal  Theme  (72-73).  Transition  (74).  The  process  of 
Transition:  First  and  Second  "Acts"  (75).  Exceptional  objective  points  (76). 
Transition-phrase  (77).  Dissolution  of  the  form  (78-79).  Subordinate  Theme  (81). 
Beginning  in  same  key  (82).  Differentiation  (83).  Derivation  from  Principal  Theme 
(84).  Form  of  the  Subord.  Theme  (85).  The  Re-transition  (86).  Treatment  (87). 
Codetta  (88).  Dissolution  (89).  "Second  Act"  (90).  Recurrence  of  the  Prin. 
Theme  (91-92).  The  Coda  (93);  brief  (94).  Relation  of  the  First  Rondo  form  to 
the  Song-form  with  Trio  (95).  Progressive  intermediate  stages  (96). 

Exercise  7    .    - 127 

Chapter  VIII.    THE  SECOND  RONDO  FORM 128 

Diagram  (97).  Principal  Theme  (98).  First  Transition  (99).  First  Subordi- 
nate Theme  (100).  First  Retransition  (101).  First  Recurrence  of  Principal  Theme 
—  "da  capo" — (102).  Second  Transition  .(103).  Second  Subordinate  Theme 
(104).  Second  Retransition  (105).  Second  "da  capo"  (106).  Coda  (107).  Rela- 
tion of  Second  Rondo  form  to  Song-form  with  two  Trios  (108).  Concise  Themes 
(109). 

Exercise  8 136 

Chapter  IX.    THE  THIRD  RONDO  FORM 137 

Diagram  (no).  Progressive  dimension  of  Tripartite  forms  (i  1 1).  Recapitulation 
(112).  Transposition  of  First  Subord.  Theme  (113).  The  First  Division  (115). 
The  Middle  Division  (117).  The  Recapitulation  (119-120).  Transition  —  modifica- 
tion (121).  Direction  of  Transposition  (122).  Misleading  transpositions  (123-124). 
Misleading  thematic  coincidences  (125).  Retransition  —  modification  (126).  Final 
u da  capo"  (127).  Coda  (128).  Limits  of  the  Rondo  form  (129). 

Exercise  g 150 


DIVISION    THREE. 
THE   SONATA-ALLEGRO    FORMS 150 

Introduction:  Constructive  Basis  (130).     Exposition  (131).     Smaller  and  Larger 
species  (132).  . 

Chapter  X.    THE  SONATINA-FORM 151 

Definition,  and  Diagram  (133).     The  Exposition  (135-138).     The  Retransition 
(139).    The  Recapitulation,  and  Coda  (140).     Intermediate  grades  (141). 

Exercise  10 164 


CONTENTS.  ix 

PACK 

Chapter  XI.    THE  SONATA-ALLEGRO  FORM 164 

Definition,  and  Diagram  (142).  The  Double-bar  (144).  The  Exposition:  Prin. 
Theme  (145);  Transition  (146);  Subordinate  Theme  (147);  Codetta  (148) ;  Double- 
bar —  repetition  and  double  ending  (149).  The  Development  (150).  Structure  and 
contents  of  the  Development  (151).  Retransition  (152).  The  Recapitulation  (154). 
The  Coda  (155).  Coda  as  Second  Development  (156). 

Exercise  n 181 

Chapter  XII.     MINIATURE  SONATA-ALLEGRO,  AS  EXPANDED  THREE- 
PART  SONG-FORM 182 

Definition  (157).     Diagram  (158).     Course  of  evolution  (159). 

NOTEWORTHY  VARIETIES  OF  THE  SONATA-ALLEGRO  FORM.     .    .  186 
Beginning  of  the  Development  coincident  with  that  of  the  Exposition  (162). 
Enlarged  Sonatina-form  (164).     The  Basic  Motive  (165).     Transposed  Themes  (167). 
Polyphony,  in  the  Larger  forms  (i68a).     Melody  Expansion  (i683). 

Exercise  12 201 

Chapter  XIII.     IRREGULAR  FORMS 201 

Introduction  (169-171).  Exchanges,  or  Mixtures:  The  Rondo  with  Develop- 
ment (172-174) ;  Misleading  resemblance  (175);  The  Sonata-allegro  with  a  Middle 
Theme,  or  new  thematic  Episode  (176).  Augmentations  of  the  form  :  Independent 
Introduction,  or  Coda  (178);  Double  Subordinate  Theme  (179);  The  Concerto- 
allegro  (180) ;  Sonatina-form  with  final  "  da  capo"  (181)  ;  Larger  forms  with  "Trio" 
(183).  Abbreviations,  or  Omissions  (184).  "  Dislocations  "  of  the  design  (185). 

Exercise  13 215 

Chapter  XIV.    ISOLATED  UNIQUE  DESIGNS 216 

Chapter  XV.     THE  OVERTURE 220 

Definition  (188).  The  Oratorio-Overture  (190).  The  Dramatic  or  Classic  Over- 
ture (191).  Potpourri-Overture  (192).  Concert-Overture  (193).  Tone-poem  (194). 
The  purpose  of  Music  (195).  General  principles  (197). 

Exercise  14. 225 


DIVISION    FOUR. 

Chapter  XVI.    COMPOUND  FORMS 226 

The  Suite  (198).  The  Complete  Sonata  (199).  Insertion  of  a  Minuet  or  Scherzo 
(200).  Conventional  arrangement  of  Movements  (201).  Keys  of  Movements  (202). 
Thematic  inter-relation  of  Movements  (203).  Duo,  Trio,  etc.  (204).  Concerto  (205). 
Symphony  (206).  Symphonic  poem  (207). 


THE  LARGER  FORMS  OF 
MUSICAL    COMPOSITION 


INTRODUCTION. 

1.  The  term  "Larger  Forms"  refers  specifically  to  those  composi- 
tions which  assume  greater  proportions,  and  therefore  require  greater 
breadth  of  design,  and  more  concentration  in  the  conception  and  ar- 
rangement of  the  structural  factors.     But  length  is  not  the  distinctive 
trait;  for  a  movement  may  be  concise  and  fairly  brief,  and  still  comprise 
the  characteristics  of  a  Larger  form. 

2.  The  dimensions  which  Larger  forms  usually  assume,  and  the 
increased  necessity  of  sustaining  interest  by  effective  contrasts,  lead 
naturally  to  the  employment  of  all  the  resources  of  tone-combination, 
and,  therefore,  of  both  distinctive  styles  of  composition  — J;he  homo- 
phonic  and  the  polyphonic.     For  this  reason,  these  Larger  designs  are 
sometimes  called  the  "Mixed  Forms." 

3-  The  homophonic  texture  is  that  in  which  one  single  melodic  line  represents 
the  chief  contents,  while  all  that  goes  with  it  is  merely  harmonic  accompaniment. 
In  the  polyphonic  texture,  two  or  more,  or  all,  of  the  lines  are  of  equal  melodic  prom- 
inence and  importance.  Pure  homophony  is  seen  in  the  2Sth  (and  others)  of  the 
Songs  without  Words  of  Mendelssohn  ;  pure  polyphony  in  the  Fugues  of  Bach's 
well-tempered  Clavichord.  The  numerous  intermediate  or  mixed  grades,  between 
the  two  genuine  styles  —  as  in  the  Scherzo  of  Beethoven's  3rd  pf te.  Sonata  —  are 
called  "polyphonic,"  but  not  "polyphony." 

4.   The  larger  forms  may  be  classed  in  four  distinctive  Divisions: 
I.  The  Variation-forms; 
II.  The  Rondo-forms; 

III.  The  Sonata-allegro  forms;  and 

IV.  Compound  forms. 


DIVISION  I. 
THE   VARIATION-FORMS. 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.      Par.  4. 
COMPARATIVE   TABLE   OF   DIVISION    I. 


BASSO  OSTINATO 

VARIATION-FORMS 

Ground- 
motive. 

Ground- 
bass,    or 
Basso    osti- 

Passacaglia. 

Chaconne. 

Small 
Variation- 
form. 

Large 
Variation- 
'form. 

nato  proper. 

THEMATIC  BASIS 


Motive  of  one 

Phrase  of  two 

Period  (or  repeated  Phrase) 

Double-period 

Usually     2-    or 

or  two  meas- 

or four  meas- 

of 8  measures,  of  which 

or    2-Part 

3-Part    Song- 

ures,  chiefly 

ures,  chiefly 

the  burden  is 

Song-form,  16 

form,  1  6  to  32 

in  bass. 

in  bass. 

usually  the 

usually  the 

measures. 

measures. 

ia  .si-line. 

chords     (inci- 

Melody 

Melody 

dentally     the 

(chords,    or 

(chords,  etc.) 

melody   or  the 

bass,  or  for- 

bass). 

mal  design). 

DISTINCTIVE  TRAITS 


None. 

None. 

Minor 

Minor  or 

None. 

None. 

mode. 

major    mode. 

Triple  measure 

(f.for 

H)« 

(D- 

TREATMENT 


Homophonic; 

Homophonic  ; 

Preponder- 

Preponderantly 

Chiefly   homophonic,    occa- 

changing 

changing 

antly  poly- 

homophonic; 

sionally     polyphonic;      the 

melodic, 

forms, 

phonic; 

varying 

variations  completely  sepa- 

rhythmic 

phrase-group 

thematic 

patterns       of 

rated,  as  a  rule. 

and      har- 

design. 

accompani- 

(chiefly) 

Form    of 

Form     of 

monic  forms 

ment    of 

harmonic  figu- 

Theme   re- 

Theme treated 

in    upper 

bass-theme. 

ration,   with 

tained,  with 

with    greater 

(added) 

approximate 

unessential 

freedom,  and 

parts. 

retention   of 

extensions. 

transformed 

Structure     continuous,     with     ordinary 

Melody. 

by  Insertions 

(transient)  cadence  interruptions. 

Partly   contin- 

and extensions. 

uous,  partly 

Elaboration, 

separated, 

as  well  as 

variations. 

Variation. 

Par.  5.  THE  GROUND-MOTIVE.  3 

CHAPTER   I. 

v       THE    GROUND-MOTIVE. 

5.  The  Ground-Motive  is  a  brief  melodic  figure,  usually  one  measure 
in  length  (sometimes  less  or  more),  placed,  as  a  rulef  in  the  basTpart, 
and  repeated  there  an  optional  number  of  times.    These  repetifions 
are  generally  exact,  but  may  be  modified.    And  the  motive  is  occasion- 
ally transferred  to  another  part.  ^See  Ex.  i,  bass. 

6.  Its  usual  retention  in  one  and  the  same  part,  however,  distinguishes  the 
Ground-motive  from  the  motive  of  the  Invention-forms,  in  which  it  is  constantly  imi- 
tated in  changing  parts.    The  term  Ground-motive  is  adopted  in  this  book,  not  alone 
because  of  its  location  in  the  bass  (the  "ground"  part),  but  more  particularly  with 
reference  to  its  object  and  character  as  fundamental  motive,  —  even  when  placed  in 
some  upper  part. 

7.  A  sentence  contrived  with  a  Ground-motive  is  not  a  Variation-form  in  the 
recognized  sense  of  the  term;  but  it  has  a  very  similar  technical  basis,  and  should  be 
regarded  as  an  embryonic  condition  of  the  same  process  of  thematic  development 
which  leads  directly  into  the  genuine  Variation-form.    It  is  more  likely  to  occur 
during  a  certain  section  of  a  larger  design  (as  in  Ex.  i),  than  to  form  the  basis  of  an 
entire  composition  (as  m  Ex.  6,  No.  i). 


8.  At  each  repetition  or  recurrence  of  the  Ground-motive  the  upper 
parts  (or  those  others  not  holding  the  motive)  are  so  changed  as  to  con- 
stitute new  melodic,  harmonic,  rhythmic,  or  contrapuntal  associations 
! See  Ex.  i,  upper  staff. 


This  indicates  the  relation  of  the  Ground-motive  to  the  Variation-form,  which  is 
defined  as  "a  series  of  ingeniously  modified  (or  variated)  repetitions  of  an  adopted 
Theme."  Here,  the  thematic  germ  is  simply  smaller,  being  only  a  motive  or  figure. 

9.  It  is  customary,  and  wise,  not  to  alter  the  harmonization  at 
every  successive  recurrence  of  the  Ground-motive,  but  to  use  the  same, 
or  nearly  the  same,  form  for  two  successive  announcements  (see  Ex.  i, 
measures  1-2;  3-4;  Ex.  4,  measures  3-5).  Also,  to  construct  related 
(if  not  strictly  similar)  two-measure,  or  four-measure  groups,  in  order 
to  obtain  the  structural  effect  of  phrase-  and  period-formations  (see 
Ex.  i,  measures  1-2;  5-6;  Ex.  4,  measures  4-5,  8-9).  Also,  to  revert, 
later  on,  to  preceding  groups,  so  as  to  confirm  the  latter,  and  to  intimate 
still  larger  designs  (double-period,  or  even  Song-forms).  See  Ex.  i, 
measures  2-4,  9-11;  Ex.  6,  No.  2,  measures  n,  12,  etc.,  like  measures  i, 


4  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  10. 

2,  etc.  Such  confirmations  or  duplications  constitute  the  only  legiti- 
mate means  of  obtaining  effective  and  intelligible  form.  Compare 
par.  i2c,  d. 

10.  For  the  sake  of  greater  freedom  and  effectiveness,  three  licences 
are  recognized  as  valid  and  permissible;  but  they  are  not  to  be  applied 
until,  in  later  recurrences  of  the  motive,  the  necessity  of  avoiding  monot- 
ony becomes  evident: 

1.  Unessential  (that  is,  slight,  unimportant)  melodic  or  rhyth- 

mic alterations  of  the  motive  itself.  These  may  con- 
sist in  "fEe"  insertion  oi  embellishing  tones  (passing  and 
neighboring  notes);  dots;  rests;  shifting  the  position 
of  the  motive  in  the  measure;  an  occasional  modifica- 
tion by  accidentals. 

2.  Transferring  the  Ground-motive  to  some  other  part. — 

as  a  rule,  not  until  it  has  appeared  several  tunes  in 
the  bass  (or  whatever  its  own  part  may  be). 

3.  Substitution  of  sequence  for  repetition,  whereby  the  motive 

""appears  upon  other  scale-steps,  ~or  in  different  keys. 
These  points  are  all  illustrated  in  the  following  example,  from  the 
Finale  of  Brahms'  ist  Symphony: 


Par.  ii. 


THE  GROUND-MOTIVE. 


*i)  Ground-motive  of  four  diatonic  tones;  one  measure  in  length,  but  beginning 
at  the  second  beat.  Observe  that  a  Ground-motive  may  occupy  any  position  in  the 
measure. 

*z)  The  melodic  formation  of  the  second  measure  is  similar  to  that  of  the  first; 
also  meas.  4  confirms  meas.  3  (as  sequence);  that  is,  the  measures  are  "cast  in  pairs." 

*3)  The  motive,  in  bass,  is  shifted  up  an  octave. 

*4)  Measures  $-6  confirm  measures  1-2,  like  a  Consequent  phrase  hi  the  period- 
form. 

*5)  The  bass  descends  to  its  former  register.  This  measure  and  the  next  two 
agree  with  measures  2-4. 

*6)  The  motive  in  bass  is  shifted  up  a  sth;  that  is,  it  is  reproduced  in  sequence, 
instead  of  repetition. 

*7)  The  melodic  form  is  inflected  by  the  accidental  e-flat. 

*8)  The  motive  is  transferred  to  the  uppermost  part,  and,  at  the  same  time,  it 
is  rhythmically  shifted — back  one  half-beat. 

*9)  The  motive  appears,  in  the  same  syncopated  form,  in  "tenor." 

11.  Upon  the  recurrence  of  this  passage,  later  in  the  movement  of  the 
Symphony,  it  assumes  the  following,  more  vital  and  interesting  shape: 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.    Par.  xa. 

BRAHMS. 


~y  —  "J      r 

•    f       ^4 

(•J     b 

~«Zr-- 

—  11 

/£    •  —  J   j  * 

—  /  

i  1 

>  f  _r  •  —  t 

r*  r  —  P 

—k- 

—  fl 

m—.  —  «  

f^jf  -^" 

-s  — 

^J   ! 

±  —  '  —  r 

—  E 

1  " 

3*         -&- 

I 

r 

1 

1 

r   J 

| 

1 

B 

£JjL 

V  i 

1 

etc. 

i 

Q'               i           _i 

I 

99 

p    j 

2*-                 —  * 

^J— 

3E 

—  (•— 

=• 

—  J- 

*i)  The  Ground-motive  appears  first  in  the  soprano,  then  in  bass;  and  this 
regular  alternation  of  bass  with  the  upper  part  continues  to  the  end  of  the  sentence. 

12.  a.  The  "variation"  of  the  accompaniment  to  the  successive 
recurrences  of  the  adopted  motive  induces  the  composer  to  exercise 
unlimited  ingenuity,  and  the  result  may  be  unique  and  effective. 

b.  The  treatment  of  the  added  parts  may  be  either  homophonic  or 
polyphonic,  more  commonly  the  former.     But,  in  any  case,  the  student 
must  remember  that  no  music  is  certain  of  its  appeal  without  definite, 
and  sustained,  melodic  design;  and  he  should  therefore  direct  his  effort 
first  to  the  conception  of  a  good  counter-melody. 

c.  It  is  also  equally  important  to  adopt  and  develop,  beforehand, 
some  perfectly  definite  plan  for  the  entire  sentence  or  composition,  in 
order  to  avoid  an  absurd  jumble  of  patterns,  which  would  destroy  the 
unity  and  effectiveness  of  the  structural  design  as  a  whole.    This  is 
clearly  illustrated  in  some  of  the  following  examples:   Ex.  6,  No.  i,  of 
Arensky,  is  a  Song-form  with  Trio;  Ex.  6,  No.  2,  of  Brahms,  is  a  group 
of  phrases  approximating  the  5-Part  form  (two  returns  to  the  first 
phrase);  Ex.  7,  No.  i,  of  Bizet,  is  a  Song  with  Trio,  the  Ground-motive 
running  through  the  Principal  Song  and  its  da  capo,  but  abandoned 
during  the  Trio  up  to  the  retransition,  where  it  re-enters;  Ex.  7,  No.  3, 
of  Lachner,  is  a  regular  Three-Part  Song-form. 

d.  The  device  most  naturally  employed  for  this  purpose   is   (as 
hinted  in  par.  9)  that  of  duplication.    The  term  "  duplication  "  is  em- 
ployed here,  and  throughout  the  book,  to  indicate  the  principle  of 
repetition,  reproduction,  or  recurrence,  in  the  broadest  sense,  and  may 
involve  almost  any  degree  of  variation  that  could  reasonably  be  in- 
cluded in  a  re-statement  of  any  member  or  section  of  the  form.    Dupli- 
cation means,  then,  the  repetition  (more  or  less  exact,  but  possibly 
greatly  modified),  or  the  recurrence,  of  a  measure,  a  phrase- member,  a 
phrase,  or  an  entire  period. 


Par.  12. 


THE  GROUND-MOTIVE. 


For  illustration:  In  Ex.  6,  No.  i,  measures  3-5  form  an  Antecedent  phrase,  dupli- 
cated, in  the  following  three  measures,  as  Consequent  phrase  (in  contrary  motion); 
in  the  same  example,  at  note  *3),  there  is  a  recurrence  or  duplication  of  this  6-measure 
Period;  and  at  note  *s),  a  return  to  the  beginning  and  recurrence  of  the  first  12 
measures  (in  different  rhythmic  form).  In  Ex.  7,  No.  i,  four  successive  announce- 
ments of  the  Ground-motive  become  the  basis  of  a  continuous  4-measure  melody,  as 
Antecedent  phrase,  immediately  duplicated  as  Consequent  phrase.  Somewhat  similar 
is  Ex.  7,  No.  3,  in  which  the  duplication  or  repetition  results  in  a  i6-measure  Double- 
period  of  very  definite  and  striking  melodic  form  (as  Part  I),  —  followed  by  Part  II, 
of  equally  clear  design,  and,  later,  by  Part  III  as  recurrence  of  Part  I. 

Further  illustrations: 

*-t 


u  ^          .^      ^.  1 

fr=-  u     tt«     ii—  ^    -<s'- 


i 


r^^f 


* 


\A  VM  -*•    i   u  I   -a- 


3£ 


8 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.    Par.  xa. 


*i)  From  the  Finale  of  Brahms'  2nd  Symphony. 

*2)  This  Ground-motive  is  also  one  measure  long,  beginning  at  the  unaccented 
second  beat.  It  remains  in  bass  throughout. 

*3)  Here  the  motive  is  shifted  to  the  next  higher  step,  and  changed  to  the  minor 
form. 

*4)  Again  shifted  up  one  step,  and  also  expanded  (by  partial  augmentation)  to 
cover  two  measures. 

*S)  The  sentence  ends  with  this  announcement  of  the  first  half  of  the  motive 
only,  in  regular  augmented  form. 

*6)  The  structural  grouping,  in  sets  of  four  similar  measures,  is  apparent  here. 


*i)  From  the  Allegretto  grazioso  of  Brahms'  2nd  Symphony.  The  Ground- 
motive  may  be  interpreted  to  represent  any  location  in  the  measure,  but  it  was 
probably  conceived  as  beginning  with  the  third  beat.  The  repetitions  are  not  al- 
tered at  all. 

A  somewhat  similar  passage  occurs  in  the  first  movement  of  Beethoven's  yth 
Symphony,  measures  50  to  29  from  the  end.  The  Ground-motive,  derived  from  the 
beginning  of  the  Principal  Theme,  is  two  measures  long,  and  appears  eleven  times 
in  succession  in  bass,  without  change  (Ex.  5,  No.  i).  And  also  near  the  end  of  the 
first  movement  of  Beethoven's  Qth  Symphony  (Ex.  5,  No.  2): 


Par.  za. 


THE  GROUND-MOTIVE. 
No.  i.  BEETHOVEN. 


-a- 


-5 • 


i 


J     ii  times 


No. 


BEETHOVEN. 


I  I  i 


3     p    fi  ,H 


F 


times 


See  further: 

No.  i 


-•-*- 


Ex. 
6. 


In  octaves 


^^U^^J 


Ground-Motive 


i  .      a  .     ^ij"']  i   j  lj|ij=^jiH-i 
:'J-v'3ji'"J  'C  i  O^F^-^F^8^1 


Aj  J     J^J 


rrrrg 


^=^^^ 


etc.       9  measures 


10  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  la. 


*- ^X  Ji 

'-^a »-p-*-» zH-*-1 


etc.  4  meas. 


etc. 
8  meas. 


1 


etc. 
16  meas. 


Cadence 


A.  ABENSKY,  op.  5. 


No.  2. 


o    nil* 


i 


5-measure  phrase 


C1+&-JJL  —  »v       I  [     IX      1  I     N     1  J  —  N      I      ~T  --  ,  - 

t>^^~^~ 


Gr.-mot. 


Par.  12. 


THE  GROUND-MOTIVE. 


II 


*±fcN=P 


5-meas.  phrase 


^£ 


f 


as  at  the  beginning        etc.  7  meas. 


^ 


^      i 


* 


•8)' 


fl 

^r-]  —  ^i!  *       ^ 

:  f: 

L/        . 

V      [1    i 

i 

(m  1  ^*  —  t 

i  _j  —  Ufl*— 

—+— 

r 

tf                          T 

Similar  to  measures  2—5 

0       1                           N              1 

>™^^H 

Ik 

'] 

/L  bJ              _F'*~  ~~*  1 

|m  p!                      • 

0    • 

-S»            f 

VsjJ     •                      i 

9t          m 

1 

^L.             1                 ^                                        *                       ™         :•    '            i 

| 

BRAHMS,  op.  116-2. 


I 


•*-B- 

motive 


etc. 


r^Ti* 


12  THE  LARGER  FORMS  OP  MUSICAL  COMPOSITION.    Par,  ia. 

No.  3.     From  Parsifal. 


Gr,motive     *  f  I          f       4f 


*  J.3J    J 


Octaves 


Par.  i2.  THE  GROUND-MOTIVE.  13 

*i)  The  Ground-motive  includes  six  quarter-notes  in  Jfoe-quarter  measure;  at 
each  recurrence  it  is  therefore  shifted  forward  one  beat,  with  unique  result. 

*2)  The  melody  here  is  the  contrary  motion  of  that  at  the  beginning. 

*3)  Here  the  Ground-motive  regains  its  original  location  in  the  measure,  and 
the  preceding  phrase  is  repeated  (and  extended  to  10  measures),  while  the  motive 
appears  in  broken-octave  form. 

*4)  This  passage,  with  transposition  to  the  dominant  key,  answers,  in  the  form, 
to  a  "Trio,"  or  Subordinate  Song-form,  with  da  capo  14  measures  later.  The 
Ground-motive  retains  its  original  letters,  however,  but  the  third  note  becomes 
g-sharp. 

*5)  The  da  capo,  or  return  to  the  beginning,  in  more  elaborate  rhythmic 
form. 

*6)  The  Ground-motive  (after  four  measures)  is  shifted  down  a  fourth. 

*7)  Here  (again  after  four  measures)  it  resumes  its  original  location;  but  the 
recurrence  of  the  first  phrase  does  not  appear  until  two  measures  later,  —  in  con- 
sequence of  the  5-measure  phrases. 

*8)  Shifted  upward  a  fourth. 

*9)  This  measure,  and  the  following  three  measures,  constitute  an  Interlude,  or 
sort  of  retransition. 

*io)  The  Ground-motive  is  transferred  to  the  inner  part,  and  back,  twice.  The 
cadence  follows.  This  entire  extract  forms  the  "Trio"  of  an  Intermezzo,  op.  116, 
No.  2. 

*n)  The  Ground-motive  here,  and  later,  is  abbreviated  by  omission  of  the  final 
tone,  or  tones. 

*i2)  Transferred,  La  abbreviated  form,  to  an  upper  part. 

See  further: 

Rheinberger,  Organ  Pieces,  op.  156;  No.  7.  "In  memoriam."  Ground-motive 
of  two  measures:  pj!i||  i  J  I-  j  *  f  P  \<=>  F*-^)  Reiterated  in  bass,  exclusively,  42 

times;  frequently  shifted  to  other  scale-steps;  no  interludes;  extended  at  the  end 
by  a  brief  codetta. 

Rheinberger,  Organ  Pieces,  op.  167;  No.  12  (Finale);  motive  of  one  measure 

^^^§E^       f-  ifl  This  is  practically  one  tone  only,  as  broken  octave;  it  is  fre- 

-&- 
quently  shifted  to  other  steps,  and  often  interrupted  by  interludes. 

Tschaikowsky,  4th  Symphony,  first  movement,  measure  134  (Ben  sost.  il  tempo 


precedente);  through  22  measures,  jT^  ^  1  1  -  1  T  See  also,  the 
same  Symphony,  "Trio"  of  second  movement  (piti  mosso);  motive  melodically 
modified. 

Arthur  Shepherd,  Pfte.  Sonata,  op.  4,  second  movement.    Motive  of  two  meas- 
ures:  [^Ij^    J~  J    J'ffiih  3  J  ^B  Throughout  the  movement,  but  frequently 

coiFsT^* 

interrupted,  and  modified. 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.    Par.  13. 


Moszkowski,  " Boabdil,"  No.  3,  (Moorish  Fantasia).    Motive  of  two  measures 


First  in  bass  (14  presentations),  then  in  soprano 


in  contrary  motion  (16  times),  and  again  in   bass;   then  in   other,  enlarged,   forms, 
chiefly  in  the  upper  part,  and  finally  again  in  bass. 

Wagner,  "Tristan  und  Isolde,"  Act.  I,  Scene  V,  Da  stand  er  herrlich,  hehr  und 
heil;  2  measures,  bass,  four  presentations. 

Ottokar  Novadek,"  Basso  ostinato"  in  /-sharp  minor.    Motive  of  one  measure: 


It  runs  through  the  entire,  fairly  lengthy,  compo- 
sition, with  occasional  alteration  of  d  to  d-sharp  —  and  a  few  other  changes;  also 
transferred  briefly  to  the  uppermost  part.    An  interlude  is  inserted,  near  the  end. 
Novacek,  "Basso  ostinato"  in  e-minor.    Motive  of  two  measures: 


An  interesting  illustration  of  consistent  formal  design. 


Jean  Sibelius,  Pastorale  from  "Pelleas  und  Melisande"  (op.  46,  No.  5).    The 


[• 


* 


j*    T    j*    (•     J~f    |* 


Ground-motive,  of  six  beats:   f§ 

is  announced  in  bass,  and  remains,  throughout,  in  the  same  register;  but  other, 
lower,  basstones  are  frequently  added,  which  give  to  the  motive  the  effect  of  an  inner 
part.  A  melodic  change  occurs,  at  the  end  of  the  motive,  in  three  of  the  presentations. 

13.   When  the  motive  is  announced  —  and  retained  —  in  some  upper 
part,  it  is  not  a  Ground-motive  in  the  stricter  sense  of  the  word;  but  the 
principle,  and  the  treatment,  are  exactly  the  same: 
No.  i.     "  Le  Carillon." 


Par.  13. 


THE  GROUND-MOTIVE. 


JL  J     i 


,. 

later: 


~ 


r 


^ 


I 


r^ 

L U- 


£. 


^^       =         = 


later : 


-0-  *->  -5-  -E-  u  i    p~n    u  i 


twice 


L- 


«IE 


GEORGES  BIZET. 


^L  A. 


etc. 


wm 


i 


1 


-f— 


twice 


twice 


as  at  beginning 


16  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.    Par.  13. 


No.  2. 
Moderate 


No.  3.     "  Trio  " 
Part  I 


3^ 


*=I^F 


*4>         Gr.-Mot. 


1 


T       ' 


r        r 


Par.  13. 


THE  GROUND-MOTIVE. 


p         *l 

CV    hi—                                                             II 

i±±z2_! 

•*  b     «  —  £  *—  f-J  —  j  j— 

Y      *  Y        *  ~ 

p.  113. 

Part  II                    FRANZ  LACHNER,  o 

.*-     *         <W  ffi      JL                                                                                 rt 

t/     L                                U  B                     w9^*    *C*fr*            ff       fcJ                   f  ^3 

£             II 

XT  b     r                         x    *      r           '  ^       w    &       w 

^       ~}\ 

\>\)         \     |                                           '>^-''              '  '  V               f^X"  P           rN 

n         ii 

tj                                                                                                                                                                                    I              1                       1 

i 

etc. 

d'    hill                                                         -1                                                1 

T'I  "      M                           i           -\  1           1                    [2 

Z  b      JOJ     j                           -'^J                               J'  '« 

r 


*i)  From  Bizet's  orchestral  suite.  "L'Arle'sienne."  dth  mnvpmpnf.  The  mo- 
tive, one  measure  long,  is  presented  constantly  in  the  inner  part. 

*z)  The  closing,  re- transitional,  measures  of  the  "Trio." 

*3)  The  motive  of  one  measure  appears  as  inner  part,  but  is  practically  a  bass, 
with  the  first  tone  held  as  organ-point.  It  runs  through  the  entire  composition  (44 
measures)  without  change. 

*4)  Similar:  the  motive  is  really  in  tenor,  but  the  bass  is  chiefly  an  organ-point. 

See  also:  Debussy,  Song  with  pfte.,  "Les  cloches."    The  motive  of  one  measure 

"- — 3= ' — • • 

appears  first  in  bass  (5  presentations,  and  cadence);  then 

in  inner  parts  (13  times,  and  cadence);   then  in  soprano, 


-     »™ 


E  major  (N.B.) 

in  the  following  three  rhythmically  modified  forms,  to  the  end: 

Bva 8va 

"  zj 


f 


and  final  cadence. 


twice  twice  twice 

This  is  a  very  beautiful  and  instructive  example,  worthy  of  close  study. 


'r elude),  the  passage  with  four- 


flat  signature.    The  motive,  two  measures  long:     ^ 

Ab  i      iv  i 

sented  constantly  in  the  soprano  (10  times),  with  one  chromatic  change  (in  the  pth 
presentation). 


1 8  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION     Par.  14. 

Maurice   Ravel,   Sonatine  in  /-sharp  minor,  last  movement,  measures. 
NOTE.  —  Such  examples  as  the  following  ot  uhopm: 

etc.  (Polonaise, 


op.     53);     and   «=EL^  -  ^—      ~        etc- 

(Berceuse,  op.  57);  —  and  Tschaikowsky,  op.  n  (Andante),  —  cannot  be  classed 
among  the  Ground-motives,  because  they  are  not  the  thematic  source  and  basis  of 
the  sentence,  but  merely  figural  motives,  of  distinctly  accompanying  character, 
whose  uniformity,  though  characteristic  and  effective,  is  rather  accidental  than 
intentional.  /}.  f)  it  rf\  ft  .  •; 


A.G-_ 

I  EXERCISE  I. 

Write  a  number  of  sentences  (brief,  but  complete),  with  Ground-motive.  Use 
different  kinds  of  measure,  and  various  rhythmic  forms,  for  each;  also,  motives  of 
different  length,  and  varied  location  in  the  measure,  —  but  not  beyond  two  measures 
in  extent.  Note,  particularly,  par.  i2C. 


CHAPTER   II. 

THE   GROUND-BASS,   OR    BASSO   OSTINATO. 

14.  The  .Ground-bass,  or,  as  it  is  more  universally  called,  the  basso 
ostinato    (persistent    bass),   differs   from   the   Ground-motive   only   in 
length.     In  some  of  the  above  examples  the  term  "basso  osiinatcT*" 
might  apply  quite  as  well  as  Ground-motive,  and  is  actually  employed 
by  Arensky  (Ex.  6,  No.  i),  Novacek,  and  others,   for   brief  motives. 
The  basso  ostinato  is,  however,  usually  a  complete  four-measure  phrase- 
melody,  with  cadence  either  on  the  tonic  or  the  dominant.     Sometimes, 
as  stated,  it  is  only  two  measures  long;   very  rarely,  a  phrase  of  eight 
measures.     See  the  Comparative  Table,  at  the  head  of  this  Division. 

15.  When  the  basso  ostinato  is  used  as  constructive  basis,  it  leads, 
because  of  its  length,  to  broader  and  more  definite  structural  results 
than  can  be  obtained  with  the  Ground-motive.    Therefore,  it  lends 

itself  readily  to  development  into  a  complete  movement,  with  clearly 
defined  form. 

16.  In  its  treatment  it  corresponds,  in  every  essential  detail,  to 
that  of  the  Ground-motive.     As  the  name  implies,  it  is  supposed  to 
appear  in  bass,  and  to  b^  repeafav]  thppy  thrmightut)    ami  in  older 
examples  this  is  always  the  case. 


Par.  16.  THE  GROUND-BASS,  OR  BASSO  OSTINATO. 

Voice  ^  ^     ^ 


I 


-— t-*- 


d 


/7  •  m 


Ex. 
8. 


fr^TTi 


^ 


Basso  ostinato 


igj^fggrg 


rr-r 


rfpirr  j  |J 


9te= 

^2fc 


^ 


EE 


L^TTLLZj 


-i  i   i 


etc.      See  original 


-9-r 


•p-   k-^-    -g-  |  . 

9Vl F  =^m  ^ times ' then :  ffi  I*  H  j  i^^ 

17 17  I  '  T~l  I      '"  I  I      . 


— f-^^-  — M-  JuJ  J^    r^         L  T>^ 

3  measures  ,1  <^         I 

"    *         later :  _   I 


i^grr^lfn 

Pb  j. 


20  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.    Par.  if. 

finally:     k  |  ,  PURCELL. 


etc.  6  times; 


H^-TJ 


rail. 


*i)  From  the  opera  "Dido  and  Aeneas"  of  Purcell  (Novello  edition),  No.  2. 
The  Ground-bass  is  a  complete  four-measure  phrase,  with  strong  tonic  cadence. 

*2)  Here,  about  in  the  middle  of  the  "Song,"  the  motive  is  transferred  to  the 
dominant  key,  where  it  appears  twice. 

*3)  Note  the  effective  treatment  (evasion)  of  the  cadence  here,  to  prevent  mo- 
notony; also  examine  the  other  (earlier)  cadences,  which  are  "bridged  over  "without 
rhythmic  interruption. 

See  also,  in  the  same  work:  No.  6  (eight-measure  phrase),  No.  12,  No.  24, 
No.  38  (four-measure  phrases). 


17. 


the  utmost  inppmiifvf  in 


in  *frfl  tipper  pftrt.  should  be  devised  jyith 


forma  or  patterns^for  each  successive 


recurrence  oi  the  Ground-bass.  It  may  be,  and  usually  is,  homopnonTc; 
and;  as  usual,  tjae  melody  ot  the  upper  .parnt.rd$lUlk  UlllBf,ALlmliuii.  But 
it  may  also  be  more  or  less  hnitatory.  or  even,  strictly  polyphomcT^ 
in  whirh  ra.s^  ||i  i&Jikfibz-tQ-bfi  .assigned  to  t^g  ^^  Passacaglia  group,  and 
to  assume  a  correspondingly  definite  conventional  character  (par.  25)7 

18.  The  basic  phrase  may  be  a  genuine  basso  ostinato,  appearing 
only  in  the  bass  voice.     But  it  may  also  be  transferred,  at  times,  to 
some  other  part;   it  may  be  shifted,  as  sequence,  to  other  scale-steps, 
with  or  without  change  of  key;  and  it  niay  be  unessentially  modified, 
melodically  or  rhythmically.     Comp.  par.  10. 

19.  Here,  again,  the  style  or  "pattern"  of  the  added  parts  may  be 
retained,  with  little  change,  for  two  (or  even  more)  successive  announce- 
ments of  the  Ground-bass.     (Comp.  par.  9.) 

And  the  design  of  the  sentence  as  a  whole  may  (and  should)  represent 
the  purpose  and  effect  of  such  complete  structural  formations  as  the 
Three-Part  Song-form  and  the  like.  (Comp.  par.  I2C,  and  par.  15.) 

Or,  in  the  absence  of  such  definite  structural  traits,  the  whole  may 
constitute  a  Group  of  phrases,  with  more  or  less  evidence  of  some  plan 
of  continuous  development,  leading,  through  progressive  stages  of 


Par.  20. 


THE  GROUND-BASS,  OR  BASSO  OSTINATO. 


21 


constantly  increasing  melodic,  harmonic  and  (particularly)  rhythmic 
interest  and  power,  to  a  climax  at,  or  near,  the  end. 

20.  The  most  effective  result  is  likely  to  be  achieved  by  interrupting 
the  series  of  thematic  announcements  after  a  time  —  best  near  the 
middle  of  the  entire  movement  —  and  interposing  a  section  in  distinctly 
contrasting  style,  as  Interlude  or  "Trio."    This  should,  of  course,  be 
followed  by  a  resumption  of  the  basso  ostinato,  either  exactly  as  before, 
or,  better,  in  new  and  more  brilliant  forms. 

21.  But,  with  this  exception,  no  cessation  of  the  repetitions  of  the 
basso  is  considered  legitimate;  and  the  successive  variations  are,  natu- 
rally, not  to  be  isolated  by  heavy  cadence  impressions,  but  should  be  as 
continuous  as  is  compatible  with  effective  structural  presentation. 

The  monotony  of  the  regularly  recurring  cadence  of  the  bass  theme 
may  be  avoided  by  skilful  evasion  of  the  cadence  —  ingenious  harmonic 
and  rhythmic  treatment  of  the  given  cadence-tones.  See  Ex.  8,  note 
*3). 


Further: 


J.M-W 


s 


-X-rJb- 


^ 


1 


J- 


*et 

ff 


^=r^; 


I 


r  =  t. 

,1st  r «.) 


22  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  ax. 


dt^ift 


I  .          _^  ^ 

•1      •  ~~        ~^  r  I  1   J  "^  .      ^L  J   — 3 


~      <  j 

^          ^= 


fci=*=s 


a  a 

4  4  «  4 


^    '    r>     — p         l         J      ^  /-y1-* — i 


etc.  See  original 


J- 


/kb 

irh 

V-L/ 

*J 

^^~                      ^-^—                        ~Gr-                        ^^                                                                    "W~                                                     1 

rv*    u 

—                             i<V                          1 

rj..  17  *             m 

• 

1                             ^^ 

-'hi    "i  •*   r  i  * 

*  i  •#   •  i  >* 

•1    >f     •*      *-1 

J      *1    Y              *1      "5*    1 

Par.  21.             THE  GROUND-BASS,  OR  BASSO  OSTINATO. 
\    *      S         

^J-J 


MJ-J- 


etc. 


semplice 


etc. 


j 


A 


J          ^J  ^ 


*f-q-* X- 


-=*-*  ri   x 


f  1 X  •  i  X 


etc. 


=M 


*7) 


* 63 


^^ 


marcato 


i 


^±={1 3 

•S          Jg      g-H 


/Lb 

^. 

-  j 

^y                  -.. 

Ei 

ifh                 J 

2, 

i 

SIZ                     ^ 

—, 

-75^.      ^      f                            -»•          -Z*-           |"                               •*• 
See  original                  ^r^«^                                                

cv-b                                                                  "      r*^ 

1 

-^-j-uj  ^  •"-  •-*--! 

"^^      ft         /T3          h 

'        i       J 

^i                \7^J 

/^ 

b^ 

- 

U-     • 

•  -1    [>=h 

i 

v^|    -»-  _j- 

*8)    I 


cresc. 


T 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  ai. 


J 


a=s 

MM 


fT 


J=* 


P 


EU 


*9) 


BRAHMS. 


L/-.  17   ,  j  «     j 

P 

/f  u    ••  •      CE3    ir 

W 

p 

fm17                        •    • 

i 

_p 

rrwr. 

*l  See  origin 
J-    ff 

al 

etc. 

^ 

C~\  *     W    ^^   * 

-^ 

(P       ^~* 

•  II 

*  i  •   r/  >y  • 

B 

•^ 

^ 

P  1 

--^      n                                          9 

m-  P  • 

0- 

P: 

_^^ 

• 

t 

1 

-^ 

C±l 

r 

LJ  M. 

*i)  The  Finale  of  Brahms'  Variations,  op.  56,  on  a  Theme  of  Haydn.  —  *z) 
Here  the  Ground-bass  assumes  its  permanent  rhythmic  form.  It  is  a  five-measure 
phrase,  and  this  irregularity  of  form  proves  effective  in  removing  the  monotony  of 
the  cadences,  which,  though  not  evaded,  always  occur  a  measure  later  than  expected. 
—  *3)  During  these  six  repetitions  of  the  bass,  the  rhythm  of  the  added  upper  parts 
undergoes  changes:  at  first  a  few  j -triplets  appear;  then  steady,  emphatic  quarter- 
beats;  then  eighth-notes;  then  sixteenths  in  the  accompanying  inner  parts,  against 
syncopated  half-notes  above;  then  i6th-note  triplets;  and  then  8th-note  triplets, 
carried  over  into  the  version  at  note  *4).  —  *4)  The  theme  begins  to  rise  in  register; 
at  *5)  it  is  in  the  tenor;  at  *6)  the  minor  mode  begins  to  assert  itself;  at  *j)  the 
theme  is  in  soprano,  and  fully  in  minor;  at  *8)  it  is  still  higher.  Note  the  rhythms. 
*Q)  The  thematic  melody  returns  to  the  bass.  *io)  Here  the  theme  is  dissolved 
into  a  coda,  with  bearing  on  the  Theme  of  the  Variations. 


Par.  21.  THE  GROUND-BASS,  OR  BASSO  OSTINATO. 

No.  i.  U ^ 


njj                    <sj            J 

<sT           ^ 

i 

(m   0     g  «*  ^g:  

K^  «*  « 

&  ^      —  1 

«i)   Orchestra 

—  ~                                                   • 
1111 

5~ 

f~\  •JTO 

3d  d  —  td  d  

J 

^'ffo  —  i  —  i  —  *  —  r  —  r  —  f- 

*  ^—  fl^  *  * 

—  ^  — 

G  round-bass 


*r^ 


BACH. 


55 


^ 


etc. 


^S 


1 


No.  2. 


Voice 


HANDEL. 


2   E  ut5 

J 

fm  ^  P  /i     M 

J 

•           * 

,      J       - 

J 

fl   '      * 

v-ly       4-    ! 

I 

•      • 

•            m 

r  r^ 

*3)          Orchestra 

pv«     U  O 

1             i 

J-4     ™    O 

1 

^    tt  k4      » 

fi^ 

1 

1 

• 

sa 

Ground-bass 


No.  3. 


^ 


1  1 


*4) 

In  octaves 


1    1 


fd-^J  Cf   rlJ-^-j^^^ 


.8. 


? 


^^ 

' I         I     ^ 


BRAHMS. 


-y  —  j  *-•  • 

17 

^    • 

*             II 

/r      •          T        M 

!              ,,J 

|| 

KB—                           —  f-f  firf- 

n 

-f-*-2-^  -^t=f  T    p  f    y  r  - 

-f  r-   -=- 

-d  H 

THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  22. 


No.  4. 

J^ 

*j~jfei^ 

RHEINBERGER. 

F^pfff  '  r 

TT~rrf  r 

ii  "pi 

Trrr 

No.  5. 

j  j  

LADISLAS  ALOIZ. 

»6) 

—  J  —  j— 

*    *    «J 

V  

•^        frl       J.      " 

*i)  The  "Crucifixus"  from  Bach's  B  minor  Mass.  The  original  should  be 
thoroughly  studied.  The  Theme  is  four  measures  long,  with  dominant  cadence. 
It  is  presented  13  times,  constantly  in  bass,  and  with  but  two  modifications,  in  the 
last  two  announcements,  —  the  final  one  is  significant,  as  it  cadences  in  G  major. 

*z)  Here  the  four-part  mixed  chorus  enters,  and  continues  throughout,  with 
most  masterly  and  effective  imitations  (polyphonic). 

*3)  From  " J udaaj^a^flfafflap^'  Mr"    3°— '  jj      The  theme,  four  measures 


long,  witn3S5mant  cadence,  is  retained  in  bass;  but  with  frequent  interludes,  and 
shifted  a  3rd  higher  during  a  later  section. 

*4)  From  "Serenade,"  op.  16,  for  orchestra  (3rd  movement).  The  basso  appears 
only  during  the  principal  sections,  is  often  shifted  sequentially,  and  subjected  to 
significant  rhythmic  alterations. 

*5)  From  "Monologe,"  op.  162,  for  organ;  No.  12.  Motive,  two  measures  long, 
in  bass  throughout,  without  modification. 

*6)  Ladislas  Alo'iz,  Var.  for  two  pianos,  op.  28.  Ground-bass,  four  measures 
long,  as  Introduction  to  the  final  Fugue. 

22.  The  thematic  melody  may,  as  stated  in  par.  18,  appear  at  times 
in  an  upper  part;  but  it  may  also  assume  its  legitimate  place  there, 
remaining  in  one  or  another  of  the  upper  parts,  excepting  when  trans- 
ferred occasionally  to  the  bass.  In  this  case  it  is,  properly  speaking,  a 
melodia  ostinata  (the  name  adopted  by  Rheinberger  in  his  op.  174, 
No.  n.  See  Ex.  n,  No.  i). 

I 

No.  i.  "  Melodia  ostinata" 

«o 


Par.  22.  THE  GROUND-BASS,  OR  BASSO  OSTINATO. 

No.  2.     Presto 

I          J. 


•>? 


i^3E£g^3El 


4  times 

•*&*-       -*-  - 


£I£ 


etc. 


%r 


later : 


later: 


^     p" 
-*-.. 


H    i    i    i    i 
J-»-  _£  _i  v  j.  j  «4)  |x 


J 
g*  —  ^ 


v 


^.*«. 


rir 


etc. 


BEETHOVEN. 


later  : 


1  

\         J.            j-J.  J     J     J     J       j 

^r 

~~                                               \                                —           "• 

&               0 

fy^    ',  v 

C*'                                           1        &* 

etc. 


28 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  22. 


*i)  The  melody  of  this  8-measure  Period  is  the  Theme  of  the  composition  (op. 
174,  No.  n).  It  appears  first  in  the  upper  part;  then  in  the  inner  (tenor),  and  then 
in  the  bass;  and  this  order  of  alternate  upper,  inner  and  lower  part,  is  adhered  to 
strictly,  and  without  modification  of  the  thematic  melody,  throughout. 

*2)  From  Beethoven's  gth  Symphony,  the  "Trio"  of  the  Scherzo-movement. 
The  thematic  phrase  of  four  measures  is  presented  first  in  the  Soprano,  as  meloata 
ostinata.  It  runs  through  the  entire  "Trio,"  with  a  few  interruptions,  and  with  no 
other  changes  than  a  modulation  to  the  dominant,  and  systematic  shifting  of  register. 

*3)  The  motive  is  transferred  to  an  inner  part,  and  its  contrapuntal  associate 
appears  above. 

*4)  Here  the  motive  is  abbreviated.     See  the  original. 

See  also:  Beethoven,  pfte.  Sonata,  op.  28;  "Trio"  of  the  Scherzo.  The  motive 
is  a  Soprano  ostinato;  a  four-measure  phrase,  whose  repetitions  run  through  the 
whole  "Trio,"  with  alternate  change  of  cadence,  in  b  minor  and  D  major. 


Rheinberger,  op.  167,  No.  10;  Soprano  ostin 


to  throughout  (see  Ex.  15,  No.  3). 

»U.ui   •»  ."+ 


EXERCISE  2. 

A  number  of  examples  of  the  basso  ostinato,  and  melodia  ostinata.  Employ 
various  types  of  measure,  and  of  rhythm.  Limit  the  theme  to  four  ordinary  meas- 
ures, or  two  large  measures.  The  following  given  basso  may  be  used  for  experimen- 
tation: 


Several  repetitions 


then : 


Ex 
12 


and: 


GOETSCHJUS. 


f  minor 


c  minor 


Par.  23.  THE  PASSACAGLIA.  29 

CHAPTER   III. 

THE    PASSACAGLIA. 


23.   ThePassacaglia  (PVpnrh    Pnsstff^ille)  was  originally  a  dance 

fprnhahly  rf  Spanish  nriflin);  "V"yr  ;"  tlhf  mjn"r  TTI^P-  an4  alwd-VS  in 

fnple  measure  (usually  |  —  more  rarely  g  or  3~).    it  was  commonly 

"ichtmrmnroJnlrnctni  r    -  ';  •         |    '  1  f      ,    :*h  i  lirhl  —1. 

Cadence  in  the  middle^ 

The  practical  availability  of  so  brief  a  sentence  for  a  complete  and 
lengthy  dance  was  secured  by  the  simple  device  of  numerous^repetitions. 
These  were  at  first  probably  nearly  or  quite  literal;  but  it  became  the 
custom  to  modify  or  variate  the  repetitions  more  or  less  freely,  though 
never  elaborately  —  the  "variations"  consisting  chiefly  of  simple  har- 
monic figuration  or  arpeggiation  (and  slight  melodic  embellishment)  of 
the  original  chords,  in  different  rhythms.  The  melody,  or  tune  proper, 
of  the  dance  was  treated  with  comparative  indifference,  or  disregarded 
altogether;  the  basis  of  the,  gp.nt.enre  was  its  rriQrds.  and  thi^  lent  para- 

mount   impnrfflnrp    tn    tV>P    hn^.pnrt     whiVh    was.    retajn.^    fllmnst    UD- 

changecL  thus  creating  the  impression  of  a  basso  ostinato  throughout 
the  mflpy  .rpppiirirma  nf  »fr«»  fjfl  nee-sentence. 


See  Bach,  Clavichord  compositions  (Peters  Edition,  No.  1959)  No.  6,  on  page 
40.  The  "Dance"  (Passacaille)  is  an  8-measure  Period  of  two  parallel  phrases 
upon  the  same  bass.  This  Period  is  repeated  18  times  with  "variations,"  chiefly  of 
a  rhythmic  nature.  Between  Variations  6-7,  9-10,  and  at  the  end,  there  is  a  da 
capo,  or  return  to  the  original  form  of  the  thematic  Period. 

Very  similar  is  the  "  Passacaglio  "  of  Frescobaldi,  cited  in  Ex.  15  (No.  9). 

24.  The  idealized  PassacagUa.Jn  its   modern  •  artistic  ^  form  (most 
common  in  organ  literature),  bears  only  a  general  resemblance  to  the 
original  dance,  though  it  has  retained  the  name.   JThat  is,  it  is  invariably 
|  (or  |)  measure;  is  in  minor;  and  consists  in  a  series  of  repetitions  of 
the  bass  theme. 

There  is  an  inexplicable  confusion  of  titles  in  a  "  Passacaille  "  of  Handel  (Suite 
No.  7  for  the  clavichord),  which  is  in  \  measure. 

25.  From  the  basso  ostinato,  to  which  class  of  composition  it  dis- 
tinctly belongs,  the  modern  Passacaglia  differs  only  in  certain  charac- 
teristic traits:    The  bass  theme  is  usually  longer;    sometimes  more 
elaborate;   the  treatment  is  preponderantly  contrapuntal;  and  the  form 


C  .} 

O 


*>u 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  26. 


as  a  whole  may  pursue  a  more  definite  design.  (It  will  be  noted  that  a 
basso  ostinato  may  be  in  any  species  of  measure,  in  either  mode,  and  of 
any  rhythmic  character.  The  Passacaglia,  on  the  other  hand,  has  its 
fixed  conditions,  —  par.  24.)  See  the  Comparative  Table  at  the  head 
of  this  Division. 

26.  The  themet  in  bass,  is  most  frequently  eight  measures  in  -length; 
sometimes  more,  rarely  less.     IL  jsgeneraHy  of  simple,  almost  austere 

*  »  —  •—"•    —  --  r    _  __  _  

--melodic  and  rhythmic  character;  though  occasionally  more  ornate  and 
striking  theme"s"afe"cKosen.  Compare  the  theme  of  Bach,  in  Ex.  14, 
with  those  given  in  Ex.  15;  and  with  the  following  of  Max  Reger : 


Ex. 
13. 


MAX  REGER,  op.  96. 


27.  The  theme  is  visiiflilly  a^nnounc^d £rst-/i/fl?^;,(fll§  in  thf>  f LUiucl^-i^ 
the 'basSj^yrhere  it  best  manifests  its  significance  as  actual  thematic 
basis,  —  as  principal  tone-Hue,  to  which  others  are  to  be  added  by  the 
polyphonic  process.     It  is  then  repeated,  in  that  voice,  under  the  same 
general   conditions  as  those  which   govern   the   Ground-motive  and 
Ground-bass;  namely: 

a)  It  may  be  rhythmically  modified;  see  Ex.  14,  notes  *6)  and  *n). 

b)  It  may  be  unessentially  embellished,  with  neighboring  notes  or 
passing  notes,  especially  when  these  are  introduced  in  conformity  with 
the  imitatory  "motive"  adopted  in  the  added  (upper)  parts;  see  Ex.  14, 
notes  *6)  and  *i4). 

c)  It  may  be  transferred  to  another,  higher,  part;  see  Ex.  14,  note 
*i2).     Much   more   rarely,   it  may  appear  as    sequence,   on   other 
steps,  or  in  another  key;  see  Ex.  15,  note  *2).    The  simple  change  of 
mode  is  always  permissible;  compare  Ex.  9,  notes  *6)  and  *;). 

28.  The  treatment  of  the  accompaniment  in  the  upper  (added) 
parts  is  preponderantly  polyphonic,  that  is.  contr 

Wfflny"so,  as  purely  harmonic  patterns  may^bccur 
from  time  to  time.  It  is,  however,  the  polyphonic  character  of  the 
Passacaglia  that  distinguishes  it  from  the  Chaconne,  and  Variation- 
forms  hi  general. 


Par.  29. 


THE  PASSACAGLIA. 


29.  Therefore,  a  "Motive"  is  chosen  for  each  successive  manipu- 
lation of  the  bass-theme,  and  is  imitated  and  developed  as  in  the  Inven- 
tion, or  chorale-figuration.  Here,  again,  the  same  (or  a  similar)  motive 
may  be  used  for  two  successive  variations.  Comp.  par.  9;  and  see 
Ex.  14,  notes  *8),  *Q)  and  *i9).  And,  as  shown  in  the  Ground-motive, 
and  in  the  basso  ostinato,  a  systematic  increase  in  rhythmic  animation 
is  likely  to  occur;  and  other  devices  of  progressive  development  may 
be  so  applied  as  to  achieve  an  effective  structural  design  in  the  entire 
series,  with  a  view  to  providing  the  necessary  contrasts  and  climaxes. 

SO.^jnterludes  may  appear,  at  proper  intervals,  between  the  varia- 
tions; especially  when  caused  by  a  t  natural  expalMmi  Uf  'llii  tmlcnce- 
chord.  It  is  especially  effective  and  appropriate  to  insert  a  modulating 
"*  Interlude* —  perhaps  extended  by  a  dominant  organ-point  —  immedi- 
ately before  the  final  announcement  of  the  bass-theme,  or  at  some  other 
inviting  point  near  the  end. 

31.,  An  extension  at  the  end,  in  the  nature  of  a  Codetta  or  Coda,  is 
possible  and  desirable. 

The  following  organ  Passacaglia  of  Bach,  one  of  the  most  masterly 
models  of  this  form,  illustrates  the  more  important  of  the  above  details: 

Theme 


fe^anj^ 

*^r    m    m         ^~: ^~,     tl 


^* 


i=  -iMf — r 


^^ 


32  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  31. 

Var.  II. 


± 


-&J  jyJ^j ^jkjCS-j-^ j  jtf3±_ 
T  f  ^1^=4^^^-:  -1  ^ i;. I ;  ^.i.ri^p 
1    '   l^^f-      u-u  i    E"C/r~Fr     =52 


-=H^ 


^^    ^ 


Var.   III. 


^  Motive 

etc.  See  »4> 

the  original 


!-T  I  -,-fT 

-*-Mr,tive  "1    f        r1^ 


etc. 


M. 


M.  M. 


cad. 


Par.  si.  THE  PASSACAGUA. 

M. 


33 


V. 


*; 


-f- 


it 


M. 


ouL 


£: 


see  original 
—     6 


M. 


VI. 


VII. 


VIII. 


etc.        «9) 


34  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  31. 

IX.  ^-^  X. 


XII. 


etc.    *i3) 


XIII. 


M. 


s 


*i4)  Theme 


SD^^tefliM^. 


XIV.  XV. 


-etc.      *i5) 


Par.  31. 


PASSACAGL/A. 


xvi. 


±= 


H> — =*- 


35 


XVII.    XVIII. 


as 


XIX. 


TM. 


etc. 


lEEEil 


3t» 


1 


r       t-. 


M._ 


*i8) 


1     M. 


etc. 


XX. 

-fr—        J 


^ — •- 


-•—     — •- 


^E    E^E^ 


*=^ 


~ 


'S 


36  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  31. 


£ 


£ 


BACH. 

P 


II 


etc.  See 
original 


fl 


*i)  Note  the  melodic  structure  of  the  Theme;  the  relation  of  the  half-notes,  at 
the  beginning  of  each  measure,  to  each  other  and  to  the  key  (the  dominant  note  g 
with  its  lower  and  upper  neighbors  during  the  first  phrase,  and  then  the  intervals  of 
the  tonic  chord,  in  descending  succession);  and  the  manner  in  which  nearly  every 
one  of  these  accented  half-notes  is  preceded  by  its  lower  diatonic  neighbor. 

*a)  The  term  "Var."  is  used  here  for  convenience;  it  does  not  appear  in  the 
original.  Var.  I  is  homophonic,  the  motive  in  soprano  being  melodic  only,  not 
imitatory. 

*3)  Var.  II  is  a  duplication  of  Var.  I,  with  new  phrase-melody,  built  upon  the 
same  motive. 

*4)  Var.  Ill  is  polyphonic,  based  upon  the  imitations  of  the  adopted  motive  (in 
8th-notes,  as  marked).  It  will  be  noticed  that  the  motive,  in  this  and  all  succeeding 
variations,  begins  during  the  cadence  —  before  the  Theme  sets  in,  in  bass. 

*$)  The  rhythm  is  accelerated  to  8ths  and  i6ths.     • 

*6)  Motive  of  3  tones,  harmonic  form.  The  Theme,  in  bass,  is  modified  both 
melodically  and  rhythmically,  in  order  to  participate  in  the  imitation  of  the  motive. 
Compare  note  *i4). 

*7)  The  rhythm  again  accelerated,  to  running  i6ths. 

*8)  Var.  VII  is,  in  a  sense,  a  duplication  of  VI,  employing  the  same  diatonic 
motive,  but  in  contrary  motion,  and  extended  to  two  beats. 

*g)  Var.  VIII  is  another  duplication  of  VI  (or  VII),  with  the  same  diatonic 
motive  extended  to  three,  and  more,  beats. 

*io)  Similar  to  note  *6),  which  see. 

*n)  A  flowing  motive  of  3  beats,  not  imitated  in  alternate  parts,  but  retained 
throughout  in  soprano.  The  rhythm  of  the  Theme  in  bass  is  again  rhythmically 
modified  by  shortening  each  half-note  to  a  quarter. 

*i2)  The  Theme  is  transferred  to  the  soprano.  This  Var.  is  a  duplication  of  X, 
inasmuch  as  the  line  of  i6th-notes  is  reproduced  literally,  in  a  lower  part.  The 
pedal-bass  is  discontinued,  to  emphasize  the  shifting  of  the  Theme. 

*i3)  The  Theme  is  again  in  soprano,  in  Var.  XII,  accompanied  polyphonically 
with  a  "jagged"  motive  of  3  or  more  beats  in  the  lower  parts. 


Par.  31. 


THE  PASSACAGUA. 


37 


*i4)  The  Theme  is  in  the  alto,  and  modified  melodically  and  rhythmically,  as 
in  Variations  V  and  IX,  in  conformity  with  the  adopted  motive. 

*i5)  Variations  XIV  and  XV  are  both  pure  harmonic  figuration;  the  presen- 
tation of  the  Theme,  in  the  tenor  (the  pedal  is  silent),  is  unique:  See  the  original. 

*i6)  The  "jagged"  motive,  in  i6th-notes,  is  a  direct  allusion  to  the  last  five 
measures  of  the  bass  Theme,  of  which  it  is  practically  a  diminution.  The  treat- 
ment is  harmonic,  —  the  measures  are  duplicates,  without  "imitation." 

*i7)  Var.  XVII  accelerates  the  rhythm  to  i6th-triplets.  Var.  XVIII  returns  to 
the  rhythm  of  Var.  IV;  the  Theme  in  bass  is  modified  by  reducing  each  quarter-note 
to  an  8th,  with  preceding  8th-rest. 

*i8)  Note  the  singular  "boring"  effect  of  the  motive  ( — two  beats  in  length, 
suggesting  ^  measure). 

*IQ)  Var.  XX  is  application  of  XIX,  with  the  motive  doubled  in  3rds. 

*2o)  This  variation  concludes  the  Passacaglia  proper.  As  Finale,  a  triple-fugue 
is  added. 


See,  further,  the  following: 


No.  i. 


RHEINBERGER. 


Ex. 
15. 


yj'ii'njMji 


No.  2. 


-Ctf&—      -i  — 

i  —  ii  |  j  irhd  r 

—  J  —  hhn  —  1 

"etc. 

3f   TTV 

y  1  1  x   •  c^  w    ,5  : 

*  A 

4        :±3jga    s 

jW  C2.                          E_ZX 

^            t*  •  1  Ji      m 

-^-  *    ^  «* 

ice 

R. 

^ 

No.  3. 

RHEINBERGE 

n^      __^^      *    "**" 

1  *T#  1  U  •  I-T  1     "**  1  • 

/U    <}  '     I        i-     -  .- 

a  F-SS>  ;q  B9— 

F--&>  —  |  —  !)  •  —  f2  — 

.&.  .  j    -d  j*  # 

w         «.\ 

Of  U  [1_L|  —  L_^  ,  —  ^_u 

No.  4. 


*4) 


SIGFRID  KARG-ELERT. 


No.  5. 


GEO.  SCHUMANN. 


wJt  <j 


^s 


T>  A  O 


38  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  31. 

No.  6.  D.  G.  MASON. 


*6) 
No.  7. 


ELIAS  BLUM. 


*»7\ 


I 


No.  8. 


GOETSCHIUS. 


No.  9.   (Passacaglio) 


H?n  .  • 


tf^T 


:*=£ 


fc£ 


Man. 


Fed. 


G.  FRESCOBALDI  (1583-1644). 


-jifcp  j   j  .  -  r 

1 

ffr*—  !i-ft3F* 

-^  —  Ff 

J       1     i     |     1 

—  HH^ 

-i  —  i  u 

SJz     pUS 

* 

• 

1            N 

j     r           ^  »-^*-     4*4*  "  *-4*~  •  -^-"  ^  • 

•             '                                                         "^         ^              etc. 

f-  **---*N  -           -1  -•-  ^    ^      N«  J  UJ^N 

t  \  •     U    '•       •        S 

& 

PB2 

ff  m 

T  •  ,  P  P       p,    ,  P 

^     >• 

v  "1 

p  1  ES             -~     "•    i 

-^  b 

i§~ 

**  a; 

i/    ^           i 

G     r 

c      ii 

u                              i/ 

£~"V  *     K 

j  *  -  !/ 

•*     ~* 

^^* 

•^ 

^^* 

*i)  Op.  132,  Finale  (Organ  Sonata).  The  Theme,  an  8-measure  Period  with 
tonic  cadence,  is  stated  first  in  bass  alone.  It  appears  chiefly  in  bass,  but  is  trans- 
ferred at  times  to  an  upper  part,  and  occasionally  slightly  embellished.  The  treat- 
ment is  polyphonic,  and  there  is  a  progressive  rhythmic  design. 


Par.  31.  THE  PASSACAGLIA.  39 

*2)  Passacaglia,  op.  156,  No.  n.  Theme,  an  8-measure  Period  with  dominant 
cadence.  It  is  stated  in  bass,  but  immediately  accompanied.  The  Theme  appears 
constantly  in  bass,  and  is  transferred  at  each  presentation  to  other  steps,  chiefly  in 
ascending  sequences  in  the  3rd.  The  treatment  is  preponderantly  harmonic,  but 
occasional  imitations  and  contrapuntal  passages  occur. 

*3)  Passacaglia,  op.  167,  No.  10.  The  Theme,  an  8-measure  Period  with  domi- 
nant cadence,  is  stated  first  in  soprano  alone,  and  is  then  retained  in  soprano  through- 
out, as  melodia  ostinata.  The  treatment  is  polyphonic. 

*4)  Op.  85,  No.  2.  The  Theme,  4  (large)  measures  with  dominant  cadence,  ap- 
pears first  in  bass  alone;  it  is  presented  three  times  in  c  minor,  then  twice  in  g  minor 
(with  modified  cadence  at  each  change  of  key);  then  once  in  soprano  in  c  minor, 
once  in  bass  in  /  minor;  then  in  c  minor,  in  soprano,  bass,  soprano,  tenor,  and  bass; 
again  in  soprano  (g  minor),  bass  (c  minor,  g  minor,  and  c  minor).  This  is  followed 
by  a  P'ugue,  as  Finale,  whose  Subject  counterpoints  the  basso  ostinato,  which  finally 
joins  it,  in  the  coda. 

*5)  Passacaglia  upon  the  name  B-A-C-H,  op.  39.  The  Theme  appears  chiefly 
in  bass.  It  occurs  a  few  times  in  5-flat  major;  is  considerably  modified,  both  melodi- 
cally  and  rhythmically  —  principally  the  latter.  The  treatment  is  almost  entirely 
homophonic,  preponderantly  chromatic,  and  extremely  brilliant. 

*6)  Passacaglia  and  Fugue,  op.  10.  An  introduction,  based  upon  the  Theme  in 
expanded  form,  leads  into  the  Passacaglia.  The  Fugue  ("Double")  serves  as  Finale. 
A  very  effective  and  beautiful  example,  worthy  of  careful  scrutiny. 

*7)  The  Theme,  an  8-measure  phrase,  modulates  early  into  the  dominant  key 
(/-sharp  minor)  and  cadences  there.  The  treatment  is  largely  polyphonic  and  in- 
volves many  skilful  melodic  and  rhythmic  modifications  of  the  Theme. 

*8)  A  basso  ostinato,  but  not  "Passacaglia"  of  the  conventional  type,  inasmuch 
as  the  Theme  is  in  major  (comp.  par.  24;  and  par.  14). 

*g)  Frescobaldi  calls  it  a  "  Passacaglio. "  This,  though  thoroughly  scholastic 
and  artistic  in  technical  treatment,  belongs  more  properly  to  the  traditional  type  of 
the  Passacaglia  as  Dance,  —  similar  to  the  example  of  Bach,  cited  in  par.  23.  The 
Theme  is  an  8-measure  Period,  or,  more  properly,  a  repeated  4-measure  Phrase;  it 
is  in  major;  the  four-measure  section  is  repeated  45  times  (Nos.  14  to  32  in  g-minor) 
in  variated  forms,  with  constant  and  direct  reference  to  the  harmonic  basis  —  and 
to  the  melody.  In  this  respect  it  bears  closer  relation  to  the  Chaconne-forms  (par. 
34),  especially  as  it  is  in  major,  and  exhibits  no  basso  ostinato.  In  many  outward 
traits  it  is  strikingly  similar  to  the  Chaconne  of  Bach  for  Solo  Violin,  cited  in  Ex.  19. 


EXERCISE  3. 

A  number  of  examples  of  the  Passacaglia,  chiefly  for  the  organ,  but  also  for  the 
pianoforte,  or  any  ensemble  of  instruments  with  which  the  student  is  familiar.  The 
themes  cited  in  Ex.  15  (especially  Nos.  i,  4,  or  8)  may  be  utilized;  or  —  better  — 
the  student  may  invent  and  manipulate  his  own  themes. 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  33. 

CHAPTER  IV. 

THE   CHACONNE. 

32.  The  r&flf-flfl?**  (Ttnlian  finn™  mi)  m  .r,  nl'iif  HI  jointly  n  pnfmlar — 
daacfiiit  is  very  similar  to  the  Passacaglia,  and  is  often  confounded  with 
the  latter.    It  was  always  in  |  (that  is,  triple)  measure,  usually  eight 
measures  in  length;   was  eitEer 

simple  rhythmic  and  melodic  modifica- 
tions as1  those  employed  Iu  the  leueUUyilg  Of  llie1  ra'ssacagiia.  ^ 

le  artistic  or  idealized  Chaconne,  likewise,  often  closely  re- 
sembles the  modern  Passacaglia,  and  has  not  escaped  being  confounded 
with,  or  even  regarded  as  identical  and  interchangeable  with,  the  latter. 
But  it  appears  possible  to  define  (or,  at  least,  to  establish  for  the 
student's  convenience)  the  characteristic  traits  of  the  Chaconne,  as 
recognized  and  adopted  in  the  majority  of  existing  examples.  See 
the  Comparative  Table  at  the  head  of  this  Division. 

34.   These  distinctive  traits  are  as  follows: 

a.  The  "  theme"  of  the  Chaconne  is  not  a  basso  ostinato,  but  consists 
primarily  fn  the  chord- successions  upon  which  the  thematic  sentence 
(usually  eight  measures,  rarely  only  four)  is. erected.  Out  of  these 
chords  emerges  a  Melody,  the  air  or  tune  of  the  dance,  in  the  upper- 
most part,  which  in  many  cases  is  so  definite  and  lyric  as  to  appear  to  be 
the  real  thematic  thread.  And  this  may,  to  some  extent,  be  the  case,  — 
the  chords  then  representing  the  natural  harmonization  of  that  melody. 

This  view  is  borne  out  in  the  title  to  some  of  Handel's  "Lessons  for  the  harpsi- 
chord," namely:  "Chaconne,  with  Variations"  (Ex.  16).  In  these,  the  "Air"  seems 
to  be  the  principal  thematic  thread,  although  it  is  the  chords  alone,  ultimately,  which 
control  the  conduct  of  the  variations.  Further,  in  thus  shifting  the  melody  into 
greater  prominence,  the  Chaconne  approaches  the  nature  of  the  conventional  "Varia- 
tion-forms," and  is,  indeed,  to  be  regarded  as  the  first  or  incipient  grade  of  this  class 
of  compositions.  So,  for  example,  the  c-minor  "  Variations  "  of  Beethoven  (Ex.  18)  are 
not  called  by  him  "Chaconne"  at  all,  although  they  are  a  genuine  type  of  that  class. 

It  is,  however,  positively  distinctive  of  the  Chaconne  that  the 
chord-succession  is  retained  as  basis,  with  a  few  natural  or  interesting 
modifications  and  modulations,  even  when  the  original  melody  disap- 
pears, or  assumes  quite  a  different  form. 

Precisely  as  shown  in  par.  23,  this  retention  of  the  chords  leads  as  a 
matter  of  course  to  the  more  or  less  exact  retention  of  the  original  bass- 


Par.  35. 


THE  CHACONNE. 


part,  thus  lending  support  to  the  impression  of  a  basso  ostinato.  But 
the  difference  in  the  operation  of  this  idea,  and  the  actual  distinction 
between  a  "retained  bass"  and  a  genuine  "Ground-bass"  (as  thematic 
fundament),  is  quite  as  essential  as  it  is  obvious:  In  the  Passacaglia 
the  basso  ostinato  is  the  source  and  basis  of  the  whole  structure;  whereas 

IB  the  LhaCOnne  tfy  rprnrnng  hagg  is  m^riily  u  /mmmijiiijiiiu^  Hy  »jjj  "Iffii"** 

limited,  of  the  retained  chord-successions  out  of  which  the  structure  is 
really  evolved.  Comp.  par.  25. 

0.  'i!iie  treatment  of  the  Chaconne  is  not  polyphonic,  as  is  that  of 
the  Passacaglia,  but  preponderantly  homophonic,  or  harmonic.  JThe 
successive  modified  repetitions  (or  variations)  are  but  little  more  than 
figurations  of  the  chords,  in  ingenious  forms  of  broken  and  embellished 
harmony.  Compare  par.  28. 

This  distinction  in  the  methods  of  treatment  is  the  natural  consequence  of  the 
location  of  the  chief  thematic  thread:  In  the  Passacaglia  it  is  in  the  bass,  as  single 
tone-line,  to  which  other  lines  are  added,  in  contrapuntal  texture:  In  the  Chaconne 
it  is  in  the  soprano,  as  lyric  product  of  the  chords,  which  induce  harmonic  manipu- 
lation. The  Passacaglia  is  built  chiefly  from  the  bottom  upward;  the  Chaconne, 
from  the  melody  downward. 

c.  The  Passacaglia  is  not  classed  among  the  conventional  variation- 


as  the  first  or  lowest  grade  of  the  Variation-form,  inasmuch  as  it  pre- 

cpntc   gPi/Pral    f Pa faflg^ (ghjafc  JTI    t*"»  Pa  scare  glia).  tW   are  pgnTlTSr   tr> 

this  class  of  composition. 

35.   The  manner  in  which  the  chords  of  the  theme  are  broken,  or, 
figurated,  constitutes  what  might  be  called  the  "pattern"  of  the  varia- 
tion, carried  along  in  consistent  recurrence  through  the  entire  series  of 
chords,  with  sufficient  modification,  here  and  there,  to  avoid  monotony. 

Here,  again,  the  same  pattern,  with  change  of  register,  is  frequently 
used  for  two,  or  even  three,  successive  variations;  thus  exemplifying 
the  principle  of  duplication,  denned  in  par.  120  as  a  vital  element  in  the 
creation,  and  distinct  presentation,  of  a  structural  design.  Comp. 
pars.  9,  19. 

Chaconne    *i) 


A"g  *  *    *•  J 

-\  —  I/  i^1 

1  —  £= 

-X      1  ;j 

£: 

4T 

"A    d. 

4: 

^  

t~^\"-ffO           ^^     * 

jsc 

fZ    •            " 

3  * 

^I3  • 

J  •fff  J 

JJ    • 

-J  * 

Z  Tla 

^  . 

«  . 

42  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  35. 

Var.  i. 


^^ 


P: 


%> 


ofi  fl 

i« 

• 

rrn 

Vtr    •    •  w  d 

_^-      • 

g 

i 

t"*' 

-*—  « 

~  —  s  —  ' 

i     '    • 

^ff)  —  *                !  —  j*  —  p.  I 

"*  —  *  —  *~J  —  A  —  tf  — 

K  —  0 

-<^  m      — 

1                ^^LJ  "*" 

'    !  !   -T  F 

|    v—  ^y 

*                u  1 
^  * 

J           ^ 

^ 

-       1      J 

\  •  '^                                 W 

• 

\J'tf     f  " 

• 

^     * 

Var.  2. 


f 
i 


(»       I  g 


r  r 


-J-^-w 


? 


*3)  | 

^         J        -* ?__J. 


etc. 


E 


x  x 


r 


^ 


Var.  3. 

y= 


Var.  9. 


-  j  ^  I 


r 


etc.       *5> 


*    * 


—  0 
' 


Var.  10. 


etc. 


THE  CHACONNE. 


43 


Var.  31. 


etc. 


I: 


Var.  36. 


I         m 


x     x 


etc. 


etc. 


Var.  43. 


HANDEL. 


r*fi 


etc.      *6) 


etc. 


n 


£=£ 


*i)  From  Handel's  "Lessons"  for  the  Clavichord  (or  Harpsichord).  The 
Theme  (the  Chaconne  proper)  is  an  8-measure  Period,  with  perfect  cadence.  The 
soprano-melody  is  the  chief  element;  and,  with  its  chord  accompaniment,  is  traced 
more  or  less  accurately  through  each  variation.  In  the  original  version  there  are  62 
variations. 

*2)  The  bass  corresponds  exactly  to  that  of  the  Theme,  —  but  simply  because 
the  chord-successions  are  the  same. 

*3)  The  cadence-measure  is  so  bridged  over  as  to  connect  the  variations  without 
interruption  (see  par.  36). 

*4)  Var.  Ill  is  a  duplication  of  Var.  II;  that  is,  very  nearly  the  same  pattern  is 
used  for  each.  The  same  is  true  of  Variations  9  and  10,  —  and  many  other  pairs. 

*s)  This  variation,  like  almost  all  which  follow,  consists  clearly  in  nothing  more 
than  a  figuration  of  the  chords  of  the  Theme.  The  pattern  is  denned  simply  by  the 
manner  in  which  the  first  chord  is  broken,  melodically  and  rhythmically. 

*6)  A  Canon  in  the  octave,  after  one  beat;  See  the  original.  See  also  the  other 
Chaconne  in  Handel's  "Lessons,"  —  also  in  G  major,  and  apparently  a  modified 
version  of  the  above  Theme, 

See  further; 


44  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  35. 

Chaconne,  No.  i.  JOH.  BERNHARD  BACH   (1676-1749). 


Ex. 
17. 


r 


m 


Chaconne,  No.  2. 


J.  B.  BACH. 


>r"r»     J      J       I        i 

j 

m       J 

... 

(m  *<           —  *— 

J-    < 

—  41 

«J               f?             O     9      m  JS0.      o               0 

**  j      ^J  .n  j       ! 

~f      r     f- 

ru 

f^ 

m       m       ^ 

9  *  Tl  £    *               1 

e?                  «         L 

-^        \  /        1 

r  •  W 

—*Q  

^ 

*_ 

*i)  A  sis-measure  Phrase,  major  mode.  The  Variations  (five  in  A,  four  in  E, 
two  in  B,  and  seven  in  4)  all  consist  in  purely  harmonic  figuration  of  the  chords. 
Both  melody  and  bass  are  retained  nearly  literally,  throughout. 

*2)  Another  curious  confusion  of  styles,  like  that  of  the  "Passacaglia"  of  Handel 
cited  in  par.  24  (in  ^  measure).  This  is  called  a  "Chaconne,"  despite  the  fact  that 
it  is  in  ^  measure.  The  Theme  is  a  /owr-measure  phrase,  major  mode.  There  are  25 
Variations,  all  in  G  major,  derived  from  the  chords  by  simple  harmonic  figuration. 
The  bass  is  retained  almost  literally;  the  melody  has  more  modifications. 

36.  The  variations  of  the  Chaconne  are  often  connected  with  each 
other  (that  is,  are  continuous),  especially  during  such  groups  of  two  or 
three  variations  as  are  based  upon  the  same  pattern.     But  it  is  indica- 
tive of  the  relation  of  the  Chaconne  to  the  Variation-form  proper,  that 
an  occasional  complete  break,  or  full  stop,  occurs,  severing  that  varia- 
tion from  the  following  one.     Such  interruptions  are  not  found  in  the 
Passacaglia,  which  is  always  strictly  continuous.     Comp.  par.  21. 

37.  Partly  in  consequence  of  this  incipient  independence  of  certain 
separate  variations,  some  liberty  is  permitted  in  the  treatment  of  the 
tonality.    Thus  it  is  quite "commbn,  Iff  the  Chaconne,  "to  alteTther7»«de 

*"^"— "^ """~""™^™— "^"*  —  ""•"•  H'B^BM*ani^M>^P>>lMI'"kM*'^*VMlyi^IMAMMMMRM'BMMV^MM^MMMMMMWm^M^HHH|i^^^k^ 

(from  minor  to  major,  or  vice  versa)  during  certain  single  variations, 
or  groups  of  variations;  see  Ex.  18,  note  *ia).  This,  however,  is  the 
only  device  employed;  no  change  of  key-note,  or  change  of  measure,  is 
made,  in  the  variations  of  the  Chaconne;  nor  are  alterations  of  the 
form,  by  extension  of  the  Theme,  considered  legitimate.  In  a  word, 
Uil  CUUlliif.lieil  b>frHi»-th«JHMBac-and  its  ieveral  variations  is  here 


Par.  37. 


THE  CHACONNE. 


45 


still  very  close.    The  latter  are  referred  directly  to  the  Theme,  of  which 
they  are  usually  closely  related  duplications,  in  all  essential  respects. 
See  further: 


46  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  37. 


Var.  2. 


I  —  1 


etc.  See  original 


Var.  3. 


£^E      ^=3^ 


ULr 


etc. 


•8)   - 


^ 


Par.  37. 


THE  CHACONNE. 

Var.  7. 


47 


*9>  etc. 


ta 
~ 

r         • 

| 

• 

r 

f 

9- 

etc. 


Var.  8. 


etc. 


etc. 


.  „  r-  f   r  .  JL^. 

'Y»  i       i        j       I       I      I 


f    f 


i 


Var.  10. 

i * 


pl  E^EE 


:^n 


-S1-1- 


*») 


etc. 


semphce 


i3) 


etc. 


^pp« 


•**• 


r- 


Var.  13. 


r#—  j-  "TJ  1*  r  <•  —  ?  —  ^"^ 

|J    J    J    -' 

*»4) 

n 

•       • 

n«                 -aK-                                       -- 

91 

•^        *                    f(T\      i                                                        K 

i 

etc. 


48  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  37. 

Var.  14. 


7C  P  —  I  —  I"  —  *~~ 

8    >  1  —  E  %   1  fl 

1— 

~5  — 

m—     —  —  

H  1  i  P  j  —      —  |  —  ^ 

s*1  — 

* 

** 

"""^ 

9« 

s 

«  •                                         • 

c 

etc. 


Var.  17. 


8va 


Var.  20. 


i;) 


1 


etc. 


Var.  30. 


BEETHOVEN. 


dt 


'etc.  *i<))  See  original. 


I 


Par.  37.  THE  CHACONNE.  49 

*i)  The  famous  "c  minor  Variations"  of  Beethoven  for  pianoforte.  It  is 
evident  that  the  chords  form  the  Theme,  and  that  the  upper  melody,  beautiful  and 
significant  as  it  is,  is  an  external  auxiliary,  not  recognizably  present  in  more  than  a 
half-dozen  of  the  32  variations.  Note  the  bass-melody,  also. 

*2)  The  "pattern"  appears  alternately  in  ascending  and  descending  form  (con- 
trary motion).  The  bass-part,  throughout,  conforms  to  that  of  the  Theme. 

*3)  Note  the  change  in  the  chord-form;  in  the  Theme  it  is  the  dominant-7th  of 
/minor  (major),  here  the  dimim'shed-yth.  Comp.  note  *6). 

*4)  The  first  variation  has  no  rhythmic  break  at  its  cadence,  but  runs  on  into 
the  next.  The  same  is  true  of  the  second  variation,  and  of  several  others. 

*5)  The  same  "pattern"  is  used  for  the  second  variation  (par.  35),  but  trans- 
ferred to  the  "other  hand"  (lower  register).  In  variation  No.  3,  also,  the  same 
pattern  is  employed,  but  in  both  hands.  In  other  words,  Variations  2  and  3  are 
duplications  of  Var.  i. 

*6)  Another  change  of  chord.  Comp.  note  *3). 

,*7)  This  group  of  three  continuous  variations,  with  the  same  pattern,  is  here 
brought  to  a  full  stop,  and  severed  from  the  next. 

*8)  Here  there  is  an  intimation  of  the  thematic  melody  in  the  inner  part.  The 
bass-part  corresponds  to  its  progressions  in  the  Theme. 

*g)  These  three  Sth-notes  are  derived  from  the  three  notes  in  the  seventh  meas- 
ure of  the  Theme.  See  the  original,  and  observe  the  manner  in  which  Var.  5  ends. 

*io)  The  pattern  in  the  "left  hand"  is  the  same  as  that  of  Var.  7. 

*n)  The  32nd-notes  in  the  pattern  are  borrowed  from  the  melody  of  the  Theme 
itself  (end  of  the  second  measure).  Var.  n  is  the  mate  to  Var.  10,  with  the  two 
parts  (hands)  inverted. 

*i2)  Here  the  mode  changes,  from  minor  to  major.  The  melody  of  the  Theme 
is  plainly  indicated,  but  in  smoother  rhythmic  form. 

*i3)  A  complete  change  of  the  bass-part,  and,  consequently,  a  new  chord- 
series,  begins  here.  See  the  original.  The  bass  has  an  ascending  chromatic  move- 
ment, instead  of  descending,  as  hi  the  Theme. 

*i4)  Variations  13  and  14  are  both  derived  from  Var.  12,  as  "duplications"  of 
the  latter.  The  melody,  in  shifted  registers,  is  retained  literally. 

*i5)  Variations  15  and  16  (mated)  are  still  in  major. 

*i6)  Var.  17  returns  to  minor.  It  is  an  "Invention  with  independent  bass," 
and  has  its  Motive,  derived  from  the  thematic  melody. 

*i7)  In  Var.  20  the  original  bass  appears  as  uppermost  part.  Var.  21  is  its 
mate,  or  duplication,  with  inverted  registers.  Var.  22  is  a  Canon  in  the  octave. 

*i8)  Here  a  striking  simplification  of  the  Theme  appears,  in  subdued  rhythm. 

*IQ)  Var.  31  is  an  exact  re-statement  of  the  original  melody,  (as  conventional 
da  capo),  with  harmonic  figuration  in  32nd-notes.  Var.  32  is  its  mate,  or  duplication, 
considerably  embellished.  This  becomes  the  Finale  of  the  composition,  and  consists, 
first,  of  the  complete  Var.  (32);  then  an  extension,  as  interlude  (10  measures);  then 
another  variation,  with  evaded  cadence  and  extension;  and  then  a  Coda  of  18  meas- 
ures, comprising  three  smaller  sections.  See  par.  38,  and  par.  55. 


50 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  38. 


38.  The  last  presentation  or  variation  of  the  Chaconne  is  usually 
extended  by  t*"»      fflff*""  «f  1  r"^"°  ™  r^a  derived  either  directly 


from   the  jiuttrm  of   I  hi'  variation,  or  from   tin-  Thrmu  itself,  or  from 
related  material. 

The  distinction  between  codetta  and  coda  is  as  follows:  The  codetta  is  a  single 
section,  —  a  phrase  of  four,  or  two,  measures,  duplicated  (repeated,  usually  with 
some  modification),  and  sometimes  extended  at  the  cadence.  The  coda,  on  the 
other  hand,  is  a  group  of  codettas,  —  contains,  therefore,  more  than  one  section,  of 
decreasing  length,  as  a  rule.  See  par.  556.  Examine  carefully  the  last  variation  of 
Beethoven  (Ex.  18),  in  the  original;  and  also  the  coda  of  Brahms  (Ex.  20). 


Further  illustrations: 


Repetition 


etc. 


Par.  38.  THE  CHACONNE. 

Var  4.  Var.  7. 


Var.  8. 


^E  if_fL.\f 
^^      f  r  |  EEEfte 

etc.    ' 

Cad" 


etc. 


cad. 


etc. 


II  Var.  17.       *5) 


etc. 


—         -&-  * 

T    ^      i 


"Var-2 


Var.  27 


cad. 


Var-2?-  ......   ,  .f-  _f-       in, 

-         ^  * 


iP 


cad. 


cad. 
Var.  34.  (Theme,  as  da  caf. 


BACH. 


ttf 


\-fr-  '—  *T*  —  t~ 

2      S3f3 

It 

^—K 

*i)  The  Chaconne  for  Solo- Violin,  from  the  4th  Sonata,  J.  S.  Bach.  The  Theme 
is  an  8-measure  sentence,  as  repeated  phrase  (not  Period),  of  the  conventional  type, 
4  measure,  and  in  minor.  Its  actual  thematic  contents  are  the  chords,  of  which  the 
upper  and  lower  lines  (melody  and  bass)  are  rather  the  index  than  the  cause. 

*2)  Note  that  the  cadence  is  everywhere  bridged  over  by  maintaining  the  rhythmic 
movement,  and  beginning  immediately  the  pattern  of  the  following  variation.  Pro- 
vision was  made  for  this  at  the  outset,  by  beginning  with  two  "preliminary  beats" 
(before  the  real  first  measure).  In  Var.  i,  both  the  melody  and  bass  of  the  Theme 
are  closely  followed. 

*3)  Var.  2  is  a  duplication  of  Var.  i,  with  chromatic  bass. 


52  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  38. 

*4)  In  Var.  3,  the  second  phrase  is  a  melodically  embellished  duplication  of  the 
first,  —  instead  of  a  nearly  exact  repetition,  as  in  the  preceding  presentations.  In 
several  instances  this  change  of  pattern  after  four  measures  is  so  radical  that  the 
Theme  appears  to  be  reduced  to  one  of  its  two  (similar)  phrases;  thus,  Variations 
15,  22,  29,  31,  32  and  33,  are  only  four  measures  long.  See  the  original. 

*5)  Variations  17  to  26  are  in  the  major  mode.  Var.  27,  and  to  the  end,  again 
in  minor. 

*6)  The  end  of  the  series  consists  in  a  recurrence  of  the  Theme  as  at  the  be- 
ginning (the  customary  "da  capo"),  the  last  4  measures  somewhat  modified,  and  led 
to  a  strong  tonic  cadence.  There  is  no  codetta.  Examine  the  original,  and  note  the 
variety  of  "patterns,"  particularly  with  reference  to  their  influence  upon  the  rhythmic 
design  as  a  whole. 

Two  ingenious  and  instructive  transcriptions,  or  amplifications,  of  this  Chaconne 
of  Bach  are:  an  arrangement  by  Joachim  Raff  for  full  orchestra;  and  an  arrange- 
ment for  the  pianoforte  by  F.  Busoni. 

See  further: 

A  llegro 


»0      f3  •    r&  '    I  ^  *"Ti^'i~1^iK?'^ 


Par.  38. 


THE  CHACONNE. 


53 


(4) 


I      i          u/  i 

-*-  *    \     Th<  i- -^  r*i 

o  f         * 


*4> 


etc. 


4- 


+.    Th. 


I 


etc. 


cadence 


cadence 


r      r 


(5) 


(6-9)        (10) 


1  j 


P 


•s) 


etc.       *6)      p 

\     i 


SEE 


etc. 


etc. 


(13)  Th^ 

MW--       i  J 


j~«*    j  fe=i 

•  •        ^      S^tjtUg 


r  r  *  r^f 


•8) 


etc. 


54  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  38. 

(14)  (tS)       (i6)Th.  ,        ,    j 

*=-«?£=  ,  j$^M^ 

EbiL£±j 


l 


dolce. 


etc.  *io)    *n)     j^"  See  original 


m 


Th. 


r? 


(17-23)  (24-25-26)  (27-30)    (31,  Coda)  *i 5) 


I  I  I 


See  the 
original 


i 


I3> 


Section  i, 
20  measures 


I  I 


« 


r 


*i6) 


etc. 


Q 


Section  II,  8  measures  *i7)          Sec.  Ill,  8  meas. 


BRAHMS. 
Sec.  IV,  S^meas. 


etc. 


etc. 


etc. 


Par.  38.  THE  CHACON  NE.  55 


*i)  The  final  movement  of  Brftftmn'  A\\\  Symphony  The  composer  has  given 
no  name  to  this  movement;  it  has  been  called,  by  different  writers,  both  Passacaglia 
and  Chaconne,  most  frequently  the  former.  It  appears  to  possess  all  the  distinctive 
traits  of  the  Chaconne-lorm,  however.  The  Theme  is  an  8-measure  phrase,  the 
burden  of  which  is  the  melody  of  the  soprano,  —  and  the  chords  which  go  with  it. 
The  bass-part  has  no  thematic  importance,  excepting  when  it  takes  charge  of  this 
thematic  melody  (which  it  frequently,  but  by  no  means  constantly,  does).  There  is 
a  noteworthy  absence  of  the  dominant  harmony,  in  the  first  6  measures;  when  it 
appears,  in  the  yth  measure,  it  is  in  a  rare  altered  form  (with  lowered  second  scale- 
step). 

*2)  The  "variations"  are  not  numbered  or  indicated  in  any  way,  in  the  original. 
They  are  marked  here  merely  for  convenience.  In  "Var.  i"  the  thematic  melody 
is  still  in  soprano,  but  an  octave  lower  than  before.  The  chords  are  retained  exactly 
as  in  the  Theme,  but  sharply  enunciated  on  the  second  beat  only. 

*3)  The  thematic  melody  descends  again  one  octave,  to  the  tenor.  Var.  2  is 
the  only  one  of  the  whole  series  which  has  a  polyphonic  character;  the  motive  of 
three  diatonic  tones,  and  its  imitations,  are  unmistakable. 

*4)  Note,  particularly,  the  treatment  of  the  cadence  measures  (see  the  original). 
The  tonic  cadence-tone  is  always  present,  but  always  divested  of  its  monotony. 
Comp.  *i2). 

In  Var.  3,  the  thematic  melody  reappears  in  the  soprano;  in  Var.  4  it  is,  for  the 
first  tune,  placed  in  the  bass. 

*S)  Var.  5  is  a  duplication  of  Var.  4. 

*6)  Variations  6  to  9  gradually  increase  the  rhythmic  pulse,  through  dotted 
8ths,  and  i6ths,  to  i6th-triplets. 

Var.  10  subsides  abruptly  to  a  quiet  rhythm  of  whole  measures. 

*i)  In  Var.  12,  the  measure  changes  to  double  its  original  length,  the  quarter- 
notes  remaining  equal,  thus  presenting  the  Theme  in  genuine  "augmentation."  The 
melody,  in  soprano,  is  dissolved  into  a  cantilena. 

*8)  With  Var.  13,  the  mode  is  altered  from  minor  to  major.  The  Theme  still 
appears  in  augmentation. 

*g)  The  thematic  melody  is  delicately  "pointed"  out  (for  four  measures)  by  the 
accent  on  the  highest  tone  near  the  end  of  the  measures. 

*io)  Var.  15  is  a  duplication  of  14  (  —  thematic  melody  in  bass). 

*n)  Here  the  conventional  "da  capo"  takes  place:  the  original  mode  and  meas- 
ure are  resumed. 

*i2)  Note  the  unusual  manner  in  which  the  tonic  cadence-note  (e)  is  harmonized. 

"13)  Variations  24,  25,  and  26  are  equivalent  to  the  significant  "return  to  the 
beginning,"  which  constitutes  so  vital  a  condition  of  clear  and  logical  musical  struc- 
ture: Var.  24  is  a  nearly  exact  counterpart  of  Var.  i,  —  Var.  25  is  similarly  like 
Var.  2,  —  Var.  26  closely  resembles  Var.  3. 

"14)  Variations  27,  28  and  29  are  of  unusual  melodic  and  harmonic  grace.  Var. 
30  is  extended  or  expanded  four  measures,  at  its  end,  in  impressive  preparation  for 
the  Coda. 

*is)  The  Coda  is,  as  usual,  sectional  in  form  (pars.  38  and  556).    The  first  section 


56  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  38. 

is  based  upon  the  first  half  of  the  thematic  melody.  At  *i6)  the  original  a-sharp  is 
changed  to  6-flat,  and  greatly  emphasized,  —  see  the  original. 

*i7)  Sections  II,  III  and  IV  are  each  8  measures  in  length  (the  extent  of  the 
Theme);  each  consists  in  the  duplication  of  a  4-measure  phrase;  and  each  is  based 
on  a  "diminution"  of  the  thematic  melody. 

*i8)  This  is  followed  by  a  Vth  Section,  similar  to  the  IVth;  and  a  final,  VI th 
Section,  of  9  measures,  as  reiteration  of  the  cadence-chords. 

See  further: 

Chopin,  Berceuse,  op.  57.  This  would  scarcely  be  called  a  typical  Chaconne, 
but  it  is  nevertheless  an  example  of  the  Chaconne-form.  After  two  introductory 
measures  (announcing  the  uniform  alternation  of  tonic  and  dominant  harmonies 
which  oscillate  uninterruptedly  through  the  piece  —  to  the  Coda),  the  "Theme,"  a 
four-measure  melody,  is  thus  stated: 


Andante 


CHOPIN. 


This  4-measure  phrase  recurs  twelve  times;  in  some  cases  the  melody  may  be 
distinctly  traced,  but  in  the  most  of  the  presentations  it  is  the  chords  (the  "rocking" 
tonic-dominant)  which  provide  the  delightfully  ornamental  lines  of  the  upper  struc- 
ture. After  "Var."  12,  a  Coda  of  16  measures  is  added;  it  consists  of  two  Sections: 
the  first  Section  introduces,  for  the  first  time,  the  subdominant  chord  and  key;  the 
second  Section  is  the  traditional  "da  capo,"  or  direct  reference  to  the  original  pre- 
sentation of  the  thematic  melody,  —  extended. 

!8|  Brahms,  op.  118,  No.  5  (Romanze  for  pfte.);  the  middle  Part  (2-sharp  signa- 
ture). By  no  means  a  typical  Chaconne,  but  a  member  of  the  same  structural 
family:  A  4-measure  phrase,  with  five  repetitions  or  variations,  based  strictly  upon 
the  chords  of  the  thematic  phrase,  followed  by  a  codetta  (as  retransition  to  the 
Principal  Part  of  the  composition). 

Brahms,  op.  119,  No.  2  (Intermezzo  for  pfte.):  Similar,  but  less  genuine.  This 
unique  design  is  approximately  a  Group  of  phrases,  with  "Trio"  in  strict  Three- 
Part  Song-form.  But  it  closely  resembles  the  Chaconne-form,  inasmuch  as  nearly 
every  phrase  in  the  group  has  the  same  thematic  contents. 


Andantino 


BRAHMS. 


The  thematic  melody  occurs  in  the  first  two  measures,  and  is  immediately  dupli- 
cated and  extended.  These  two  thematic  measures  recur  at  measures  9,  n,  13 
(transposed  to  a  minor),  15  (sequence),  18  (transposed  to/  minor),  20  (in c minor, as 
at  the  beginning),  29;  and  again,  in  measure  36,  expanded  to  four  measures,  as 
principal  phrase  of  the  "Trio,"  in  major;  thus: 


Par.  39. 


THE  CHACONNE-THEME. 


57 


Grazioso 


BRAHMS. 


Eh 


etc. 


Joachim  Raff,  Chaconne  in  a  minor  for  the  pfte.  for  four  hands,  op.  150.  The 
Theme  is  announced  after  an  Introduction.  It  is_in  a  minor,  ^  measure,  and  twelve 
measures  long.  There  are  first  9  "variations"  (not  so  called  in  the  original)  in 
a  minor  —  the  gth  one  extended  two  measures  at  its  end;  then  two  in  C  major,  5  in 
a  minor  (some  extended),  2  in  A  major,  one  each  in  C  major  and  e  minor;  finally  3 
in  a  minor;  then  a  "da  capo"  statement,  and  a  Coda,  ending  in  major. 

Erich  W.  Korngold,  the  final  movement  of  Sonata,  No.  i,  for  the  pianoforte: 

A.  v.  Z.  •.) 


Therr 


Ex. 
24. 


z=¥ — %-: 


J 


-zsfe 


i 


^ 


\ B> ^\ fe*-:- (=• 

r^T  ipir^ 


*i)  The  Theme  (only)  bears  these  initials,  and  is  therefore  plainly  not  original 
with  Korngold,  but  its  elaboration  forms  the  last  movement  of  his  Sonata.  It  is 
not  called  "Chaconne,"  but  obviously  belongs  to  that  tribe.  The  Theme  is  seven 
measures  in  length.  Note  the  soprano,  —  all  tones  from  the  d  minor  chord.  The 
principal  basis  is  the  chord-succession,  though  the  bass-line  is  everywhere  more  or 
less  evident;  it  is  retained,  as  bass,  during  the  first  5  or  6  statements;  then  presented, 
with  varied  modifications,  in  other  parts.  There  are,  in  all,  13  variations  in  minor, 
6  in  major;  the  last  2  or  3  are  in  minor. 


THE  CHACONNE-THEME. 


39.   It  is  not  easy  to  definf  the  finalities  of  a  trnod  (original)  working 
Theme.    The  predominant  attribute  should,  however,  be  sunpESEffT 
A  natural,  unaffected  chorcl-sucoession,  with  an  attraHiveTH?Io3ic" 
upper  line,  will  yield  better  results  than  a  showy  or  dramatically  im- 
pressive one  can;  a  Theme  tfrat  is  elaborate      itsTOl    cU  of  but 


little  further  elaboration;  the  art  of  variation  is  to  develop  unexpectefl 
effects  not  directly  patent  in  the  Theme.  This  is  possible,  with  the 
exercise  of  sufficient  ingenuity,  and  with  the  understanding  that  very 
great  liberties  may  (and  must)  be  taken  with  the  Theme,  on  condition 
that  these  do  not  wholly  destroy  its  essential  elements. 


58  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  4a 

At  the  same  time,  a  Theme,  while  simple  as  a  whole,  must  contain 
one  or  more  striking  traits  wEicfi  impart  a  distinct  p&ysiognomy  to  it, 
and  establish  a  convincing  point  of  contact  between  it  and  its  variations. 
In  this  respect,  note  the  irregular  rhythm  in  measure  6  of  Ex.  i8"7Beet- 
hoven),  and  the  chromatic  bass;  and  the  dissonant  Second-dominant 
chord  (IF)  on  the  first  accent  in  Ex.  19  (Bach);  the  raised  4th  scale- 
step  in  the  5th  measure  of  Ex.  20  (Brahms);  and  the  striking  harmo- 
nization of  a  very  simple  melody,  in  Ex.  24. 

This  latter  trait  —  peculiar,  irregular,  abnormal  harmonies— it  is 
wise  to  shun,  in  the  Theme,  for.  no  thing  grows  so  quickly  and  inevitably 
wearisome  as  the  regular  recurrence  of  any  abnormal  feature. 

Above  all  things,  monotony  (in  the  Theme,  or  in  the  rhythmic,  me- 
lodic and  harmonic  treatment  of  its  variations)  must  be  rigidly  guarded 
against. 


EXERCISE  4. 

A  number  of  examples  of  the  Chaconne-form;   major  or  minor;   almost,  if  not 
quite,  exclusively  in  4  measure;  with  (chiefly)  8-measure  Themes. 


~  #•  Vc       tev^ 

.   tf  \^  K 

CHAPTER  V. 

THE   SMALL   (OR   SIMPLE)   VARIATION-FORM. 

40.  The  distinction  between  the  three  grades  of  the  Variation-form 
(chapters  4,  5  and  6),  as  shown  in  the  Comparative  Table  at  theJiead 
of  this  Division,  is  due  primarily  to  the  length  of  the  Theme.    In  the 
Chaconnejitis  usually  an  8-measure  sentence,  or  One-Part  form.    In 
the  Small  Variation,  usually  16  measures,  either  as  double-period,  or 

yr,  possibly.  Incipient  Three.-Part  form.     In  the 

Large  Variation,  usually  20  to  24  measures,  as  Three-Part  form,  some- 
times Incomplete. 

Other  distinctions,  concerning  melody  and  formal  structure,  will 
be  pointed  out  later. 

41.  This  difference  in  the  extent  of  the  thematic  sentence  has  an 
obvious,  and  significant,  bearing  upon  the  nature  of  the  task,  and,  con- 
sequently, upon  the  attitude  of  the  student.    As  the  Theme  becomes 


Par.  42.          THE  SMALL    (OR  SIMPLE)    VARIATION-FORM.  59 


longer,  the  disposition  increases  to  lay  greater  stress  npnn  {fo 
or  air;  to  separate  the  variations;  and  to  direct  more  attention  to  the 
structural  conditions  (the  "form"),  —  of  each  variation,  and  of  the 
entire  series. 

42.  The  Theme  of  the  Small  variation-form,  as  stated  in  par.  40,  is 
usually  16  measures  in  length,  as  double-period,*  Two-Part  Song-form,t 
possibly  incipient  Three-Part  form.J    The  double-period  is  employed 
in  Beethoven's  "Righini  Variations"  (24,  hi  D  major);  the  Two-Part 
form  in  Mendelssohn's  "Variations  serieuses"  (d  minor,  op.  54);   the 
Incipient  Three-Part  form  in  the  ist  movement  of  Mozart's  pfte.  Sonata 
in  A  major  (Schirmer  ed.,  No.  9).    Other  dimensions  are  occasionally 
found,  as,  for  example,  a  small  Two-Part  form  (8  measures^)  hi  the 
Theme  of  Brahms'  "Handel  Variations"  (B-flat  major,  op.  24).    But 
1  6  measures  is  the  normal  length. 

The  essential  traits  are  similar  to  those  given  in  the  definition  of  the 
Chaconne  Theme  (par.  39,  which  review).  But  the  Theme  of  the  varia- 
tion-form proper  usually  has  a  more  pronounced  lyric  quality;  its 
burden  is  the  melody,  or  air,  to  which  the  chords  are  added  as  harmonic 
accompaniment.  And  although  the  earlier  distinctive  custom  of  writing 
variations  upon  some  popular  song,  opera  aria,  or  other  favorite  com- 
position, has  given  way  to  that  of  preparing  original  Themes,  the  latter 
are  generally  far  more  melodious  than  harmonic  in  character. 

43.  a.   In  the  Small  form,  with  its  i6-measure  Theme,  the  varia- 
tions, being  longer  than  those  of  the  Chaconne,  are  more  independent 
of  each  other,  and  more  likely  to  constitute  separate  sentences,  each 
complete  hi  itself. 

b.  The  variations  ajp.  as  a  rule,  no  longer  connected  with  each 
other.     Each  one  receives  its  full  perfect  cadence,  and  is  thus  brought 

-trrtr  complete  close:  ~  ~ 

Nevertheless,  in  some  instances  a  few  of  the  traits  of  the  Chaconne  still  adhere 
to  the  Small  variation-form:  At  times,  the  same  "pattern,"  or  a  related  one,  is  used 
for  two  (not  more)  successive  variations;  Ex.  25,  notes  *3),  *4),  *8).  And  occasionally 
a  variation  may  be  connected  with  the  following  one,  —  only  by  "bridging"  the 
cadence,  rhythmically;  Mendelssohn,  op.  54  (Ex.  25),  Var.  1-2,  2-3,  3-4,  6-7,  9-10, 
11-12,  16-17. 

c.  The  variations  may  become  somewhat  more  independent  of 
their  Theme,  —  not  closely  related  duplicates,  as  in  the  Chaconne,  but 

*  See  the  author's  Homophonic  Farms,  chap,  VIII. 
t  Hantofhonic  Forms,  chap.  IX. 
t  Homophonic  Forms,  par.  84. 
^f  ffomophonic  Forms,  par.  76. 


6o 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  44. 


actual  variations,  more  ingeniously  differentiated  from  the  Theme  and 
from  each  other.  They  may  be  said  rather  to  allude,  than  to  refer,  to 
their  Theme;  hence,  greater  liberty  is  exercised  in  the  choice  of  "pat- 
tern," and  in  denning  the  character  of  each  individual  variation. 

44.  In  this  smaller  grade  of  the  Variation-form  proper,  the  separate 
variations,  as  "modified  repetitions  of  the  Theme,"  should  exhibit  their 
relation  to,  and  derivation  from  their  Theme  with  convincing  clearness; 
otherwise,  in  the  absence  of  such  recognizable  proof  of  its  thematic 
origin,  .the  variation  is,  more  accurately  stated,  an  "improvisation" 
upon  the  Theme,  and  manifests  only  a  remote  or  indirect  relation  to 
the  latter. 

45.  For  this  reason,  it  is  necessary  to  define  the  essential  elements 
of  the  Theme,  and  to  determine  the  principal  points  of  contact  to  be 
maintained  between  it  and  its  variations.    Of  these  there  are  four, 
readily  definable  and  recognizable: 

1.  The  melody  of  the  Theme; 

2.  The  chord-successions  (or  harmonic  body)  of  the  Theme; 

3.  The  bass  of  the  Theme;  and 

4.  The  general  form,  or  structural  outline  of  the  Theme. 

46.  a.   In  any  case,  the  first  step  is  to  invent  a  motive  or  Pattern 
for  the  variation.     See  par.  35. 

This  is  generally  a  brief  fifture,  of  on.fi  b.Pflf  (™™),  ™»g.K?if  ry1Ff)o1iroj 
a  whole  measure,  or  two  measures  (rarely  longer),  which  appears  at  the 
tteginnmg  ot  the  variation,  and  Is  ^then  conducted  turuugk  thft 


guided  by  the  melodic  and  harmonic  movements  of  the  Theme,  and  in  more 


Note  the  array  of  patterns  in  Exs.  18,  19,  20  and  25;  and  observe  that  it  is  the 
general  melodic  and,  especially,  rhythmic  construction  of  the  pattern  that  defines 
the  style  and  effect  of  the  variation. 

The  pattern  is  often  derived  from  some  feature  of  the  Thsme  itself.     See  Ex.  18, 
note  *9)  and  note  *n).    Also  Ex.  25,  note  *2). 
Theme.     MENDELSSOHN,  op.  54. 
Andante  Var.  i.  Andante 


Ex. 
25. 


(See  Ex.  30) 

n  j    f  ±  ± 

\'    9.  "Tl«  P  I    - 


_ 

' 


Par.  46.          THE  SMALL    (OR  SIMPLE)    VARIATION -FORM.  6l 

Var.  2.  Pocopiii  animato  Var.  3.  Piu  animato 


Var.  5.  Agitato  Var.  6. 


Var.   u. 


Var.  12.     Tempo  del  Tema 

IE 


62 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  46. 


Var.    13 


Var.   14. 


*i)  Only  a  portion  of  the  Theme  is  given,  sufficient  to  define  the  conception  of 
the  patterns.  The  pattern  of  Var.  i  might  be  defined  as  a  "  running  inner  part,  with 
staccato  bass,  beneath  the  original  melody."  It  is  adhered  to  throughout. 

*2)  The  "motive"  of  the  pattern,  in  the  lower  staff,  is  derived  from  the  last 
member  of  the  Theme  (measures  15  and  16  —  which  see),  to  the  bassnotes  of  which 
it  exactly  corresponds. 

*3)  Var.  4  is  the  mate  to  Var.  3;  it  utilizes  the  same  "motive"  of  four  tones,  but 
in  contrary  motion. 

*4)  Var.  9  is  the  mate  to  Var.  8. 

*5)  A.  fughetta;  see  par.  54^. 

*6)  The  thematic  melody  in  tenor,  nearly  literal,  throughout. 

*7)  Change  of  mode;  melody  in  tenor. 

*8)  Var.  17  is  the  mate  to  Var.  16;  it  is  followed  by  a  long  Coda  of  four  Sections 
(see  par.  556).  In  every  one  of  these  "patterns"  the  presence  of  the  first  two  melody 
tones  of  the  Theme  (a  and  g-sharp)  is  dearly  recognized. 

b.  It  is  by  no  means  necessary  to  adhere  strictly  to  the  adopted  pattern  through- 
out, although  this  is  generally  done.  The  effort  to  defeat  monotony,  and  the  natural 
exhibition  of  ingenuity  and  freedom,  will  lead  to  occasional  slight  —  or  even  great  — 
alterations  of  the  pattern;  these,  however,  seldom  affect  the  rhythm.  This  freedom 
of  treatment  is  frequently  conspicuous  in  the  variations  of  Beethoven,  in  which, 
instead  of  continuous  reiterations  of  the  same  pattern,  often  a  number  of  motives 
(always  closely  assimilated,  particularly  in  respect  of  rhythm)  appear,  in  the  suc- 
cessive phrases,  periods,  or  Parts  of  the  same  variation. 

47.  Of  the  four  essential  thematic  elements  enumerated  in  par.  45, 
the  most  important  and  indicative  is  the  Melody.  The  more  or  less 
constant  adherence  to  the  air  or  melody  is  by  far  the  most  natural  and 


Par.  48.         THE  SMALL  (OR  SIMPLE)   VARIATION-FORM.  63 

common  method  of  establishing  contact  between  Theme  and  Variation. 
And  this  is  the  reason  why  the  Theme  of  a  small  variation-form  should 
present  a  more  distinctly  lyric  appearance  (should  have  a  more  promi- 
nent melody-line)  than  that  of  the  Chaconne. 

48.  (First  glance  at  par.  58.)  When  the  melody-line  is  thus 
adopted  as  the  basis  of  the  variation,  it  may  be  traced  quite,  or  nearly, 
literally: 

a.  In  the  same  (upper)  part. 

Mendelssohn,  op.  54,  var"'  i  —  literally;  Var.  2 —  nearly  literally.  Such 
nearly  exact  retention  of  the  melody  of  the  Theme  is  very  apt  to  occur  in  the  first 
variation,  which  naturally  represents  a  direct  re-statement  and  confirmation  of  the 
Theme,  before  its  more  elaborate  variation  is  undertaken.  The  succeeding  varia- 
tions then  diverge  more  and  more  widely  from  the  thematic  melody  —  for  a  time  — 
until  it  seems  effective  to  return  and  state  the  melody  again  in  its  original  form  (as 
quasi  da  capo,  from  time  to  time).  In  this  respect,  the  above  ^variations  of 
Mendelssohn  (op.  54)  are  typical. 

b.  Or  the  melody  may  be  placed  in  an  inner  or  lower  part  —  again, 
either  quite,  or  nearly,  literally;  perhaps  with  different  harmonization, 
and  always  with  new  and  ingenious  patterns. 

Mendelssohn,  op.  54,  Var.  13  (very  nearly  literal,  in  tenor);  Var.  14  (nearly 
literal,  in  tenor,  during  the  first  Part;  then  more  obscured);  see  Ex.  25,  notes  *6) 
and  *7). 

Beethoven,  "Russian"  variations  (12,  in  A  major),  Var.  4  (melody  in  tenor, 
nearly  exact,  during  first  and  third  Part).  Op.  26,  .4 -flat  major  pfte.  Sonata;  Var.  2 
(in  bass  —  later  in  inner  part  —  nearly  exact). 

Schumann,  Symphonic  Etudes  (op.  13),  Var.  2  —  melody  in  bass,  later  in  inner 
part.  Brahms,  op.  9,  Var.  i,  —  melody  in  bassj 

c.  Or  the  successive  members  of  the  melody  may  appear  in  alter- 
nate parts. 

This  is  seen  in  the  variation  just  cited  —  Beethoven,  op.  26,  Var.  2;  and  in  the 
following: 


No.  1.      Melody  of  Theme 


etc. 


BEETHOVEN. 


etc. 


64  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  48. 

No.  2.     Mel.  of  Theme 

T^.»     u          f       m     i  -     L  i    I 

etc. 


MENDELSSOHN. 


Var.  6. 


*i)  The  original  melody  tones  are  here  indicated  by  -  -  -,  which,  of  course,  do 
not  appear  in  Mendelssohn's  version;  the  o  denotes  the  absence  of  an  original 
note. 

See  also  Mendelssohn,  op.  82,  Var.  3.  Brahms,  "Handel  Variations,"  op.  24, 
Var.  10;  Var.  18  (alternate  left  and  right  hand). 

d.  The  melody  may  be  elaborately  ornamented,  or  dissolved  into  a 
florid  cantilena  or  "aria"  (similar  to  the  process  sometimes  applied  to  a 
chorale  melody:  See  the  author's  Applied  Counterpoint,  par.  107). 

Beethoven,  op.  35  (15  variations  in  E-flat  major),  Var.  15.  Also  his  op.  120 
("Diabelli"  variations),  Var.  31;  and  op.  34  (6  variations  in  F  major),  Var.  i,  and 
the  adagio  molto  in  the  Coda;  also  13  variations  in  A  major  (Dittersdorf),  Var.  12. 

e.  In  variations  for  the  organ,   especially  in  so-called  Chorale- 
variations,  the  thematic  melody  is  likely  to  be  retained  as  more  or  less 
strict  cantus  firmus,  with  polyphonic  treatment  of  the  accompanying 
parts. 

Bach,  organ  compositions,  Vol.  5  (Peters  edition),  Second  Division  (page  60); 
four  sets  of  Chorale- variations.  The  word  "partite"  is  used  instead  of  "variations" 
in  Nos.  i  and  2.  No.  4  is  a  series  of  canonic  variations.  The  Chorale-theme  ap- 
pears, as  canlus  firmus ,  in  various  parts  —  most  frequently  in  soprano;  usually  re- 
tained literally,  sometimes  modified  here  and  there,  or  dissolved  by  ornamentation 
into  a  florid  aria. 

/.  The  successive  tones  of  the  melody  are  often  presented  in  de- 
tached or  fragmentary  order.  This  is  especially  apt  to  be  the  case 
when  the  chord-basis  is  prominent  (par.  49),  or  when  the  pattern  is  of  a 
figural  character.  See  also  par.  51.  For  illustration: 


Par.  48.         THE  SMALL   (OR  SIMPLE)   VARIATION-FORM. 


No.  i.      Melody  of  Theme   (  Ex.  28-1  ) 


Var.  i. 


•-•-- 


:pz:  tf-r^ip: 

!EE  6tC-  Egfeltf-HH^ 


BEETHOVEN. 


Var.  i. 


BEETHOVEN. 


No.  2.      Mel.  of  Theme 


No.  3.     Mel.  of  Theme  (Ex.  28-4) 


No.  4.     Mel.  of  Theme  (  CHOPIN) 


RACHMANINOW. 


etc. 


i 


g.  In  case  the  melody  of  the  Theme  is  chosen  as  chief  line  of  contact, 
it  goes  without  saying  that  the  original  chord-harmonization,  and  the 
bass,  may  be  partly  or  wholly  changed.  Comp.  pars.  49  and  50. 
For  example: 


66  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  48. 


£*E-urirr3ijia 


*2) 

•3)         BEETHOVEN. 


'^:K^ 


•-=— »- 


fez* 


simile 


No.  2.  Mel.  of  Theme 
tr. 


etc. 


I  etc. 


In  B-flat  major 


-*— 


Par.  48.         THE  SMALL   (OR  SIMPLE)   VARIATION-FORM.  67 

BRAHMS. 


^ 


etc. 


No.  3.   Theme 


jfcfJ-4 
i>4  r  y— f- 


a    4  /l 

— ; r • v 


.L 


etc. 


— m 2 — l — "* —  i~a* — i 

^riL^r  ,in 


Var.  5. 


TSCHAIKOWSKY. 


^j^^j^AgaEEJ 


^n 


a. 


m 


*,      etc. 


-§— *<- 


w 


p 


No.  4. 

Theme 

n  j  n 

n  i    i 

I/  ,  P  [70 

*     *        m       j 

1          3     I 

B                             • 

j  •  j  • 

i?ll       ^     /I 

(^ 

i 

-c  •  •    J   •      _i 

\S>Lf          *T 

r^g 

P*           # 

tJ 

•                p      -                      4 
»-             1»- 

r 

r 

f 

rfi*-2  1 

""ji  —  fr~fi'^  — 

•                ffl 

:IE              - 

1  —  &  5— 

1  1 

•^  h  K   'i 

r       r 

r 

r 

1            1 

V   V      *T 

•         B 

•            w 

1 

At, 

r 
i 

r 
$    i 

IV 

I 

etc. 


o       K 

ttfrr. 


LlADOW. 


7  7  7b  T3 

II      V        Ab  II         la        I 


I    Vol 


68  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  49. 

*i)  The  Theme  (and  its  melody)  are  in  E-flat  major.  In  this  variation,  the 
melody  remains  in  its  original  place,  but  it  is  harmonized  in  c  minor. 

*2)  The  bass  continues  in  broken  octaves. 

*3)  This  note  (e-flat  in  the  Theme)  is  the  only  one  changed  to  accommodate  the 
new  key. 

*4)  Very  similar:  The  melody  of  the  Theme  is  in  5-flat  major;  in  this  variation 
it  is  in  g  minor  —  pointed  by  the  short  grace-note  in  each  beat.  See  the  original 
("Handel"  variations,  op.  24). 

*S)  The  notes  of  the  thematic  melody  retain  their  position  on  the  staff,  but 
both  the  key  and  the  harmony  are  greatly  changed. 

*6)  Here  the  original  line  is  changed,  and  then  abandoned. 

*7)  The  melody  corresponds  note  for  note  to  the  original,  excepting  the  two  in- 
serted tones  marked  o.  The  chord-analysis  shows  the  radical  change  in  harmony. 

49.  When  the  chords  are  adopted  a^thejMJncipal  basis  QJ  the  varia- 
tion,  with  more  or  less  exact 


or  it  may  disappear  altogether.     This  style  of  variation  reverts,  in  a 
sense,  to  Jjig_cfaaracter_of_the  Chaconne-forrn. 

Beethoven,  op.  35  (Ex.  28,  No.  i),  Var.  2,  3,  4,  n,  12,  13. 
Beethoven,  8  Variations  in  F  major  (Siissmayer),  Var.  i,  4. 

Beethoven,  10  Variations  in  5-flat  major  (Salieri);  Variations  i  to  7  all  bear 
but  little  trace  of  the  original  melody.  In  Var.  5,  a  wholly  new  melody  appears,  as 
product  of  the  original  chords. 

50.      Wlwm  AA  ^g,-T.a1  ha^li^  nf  ttm  Tl.««n  .'.  *  ,4^^     the  Original 

melodyj._and  the  chord  -si  irressions,  ma.y.The..rp9rg  ^r  lessjgmplptplv 
transformed.     (This  style  constitutes  an  allusion  to  the  basso  ostinato.) 


In  the  £-flat  major  Variations  of  Beethoven,  op.  35  (subsequently  utilized  in 
the  Finale  of  his  Third  Symphony),  very  marked  prominence  is  given  to  the  bass- 
part.  It  is  used,  in  four  literal  presentations,  for  the  Introduction  to  the  entire 
work,  somewhat  after  the  manner  of  a  basso  ostinato,  but  shifted  successively,  each 
time  an  octave  higher;  in  the  first  presentation  it  is  alone,  in  all  the  characteristic 
and  unlovely  rigor  of  a  genuine  bass-line;  in  the  second  presentation  one  melodious 
part  is  added;  then  two,  then  three;  —  and  upon  its  fifth  presentation  the  actual 
melodic  Theme  of  the  work  is  erected  upon  it,  followed  by  15  variations,  and  a  Finale. 
See  the  original.  In  many  of  these  variations,  the  bass-line  (especially  the  first  four, 
and  the  last  four  —  and  often  more  —  measures)  is  persistently  present.  In  Varia- 
tions 4,  6,  7,  8,  10,  n,  12  and  15  it  is  less  conspicuous,  its  place  being  represented  by 
the  chords  in  general;  in  Var.  14  it  is  especially  significant,  being  used  as  uppermost 
part  during  the  first  8  measures.  The  Finale,  with  which  the  set  concludes,  consists 
of  four  Sections  (see  par.  5$c):  The  first  is  a  fairly  strict  Fugue,  whose  subject  is 
derived  from  the  first  4  or  5  measures  of  the  thematic  bass;  Section  two  is  a  sort  of 


Par.  50.         THE  SMALL   (OR  SIMPLE)   VARIATION-FORM. 


69 


da  capo,  or  statement  of  the  Theme  in  very  nearly  its  original  form,  with  modified 
repetition  of  the  second  Part;  Section  three  is  another  complete  (and  extended) 
variation,  with  the  melody  in  bass;  Section  four  (last  gj  measures)  is  a  codetta, 
based  upon  reiterations  of  the  first  two  measures  of  the  melody. 

Very  similar,  in  every  essential  respect,  is  op.  5  of    Schumann  (called  "Im- 
promptus," instead  of  variations,  for  pfte.),  which  see. 

A  very  unique  application  of  the  bass-line,  as  bearer  of  the  variation,  is  shown  in 
op.  9  of  Brahms  ("Schumann"  variations),  Var.  2: 

Theme  (SCHUMANN.) 


=^=r 

=S 


f 


etc. 


^ 


r 


Var.  2. 


BRAHMS. 


*i)  There  is  a  curious  transformation  of  the  meter,  through  which  four  original 
measures  are  expressed  in  one  measure;  —  consequently,  this  whole  variation  is  only 
six  measures  long  (but  then  repeated).  The  bass-line  is  retained  almost  literally, 
throughout,  while  the  original  melody  and  harmony  are  but  vaguely  intimated,  here 
and  there. 

51.  N.  B.  In  none  of  these  cases  is  strict,  continuous,  adherence  to 
the  adopted  basis  necessary.  Thus,  one  of  the  three  principal  guides 
(melody,  chords,  or  bass-line)  may  be  pursued  for  a  time,  and  then 
abandoned  for  another,  so  that  the  variation  may  exhibit,  in  different 
phrases,  different  points  of  contact. 

The  only  requisite  is,  that  the  connection  between  the  variations 
and  their  Theme  be  plausibly  recognizable,  in  a  general  way  at  least; 
certain  single  points  of  contact,  sufficiently  frequent  and  numerous, 
should  be  established;  especially  those  points  where  the  Theme  exhibits 
somewhat  characteristic  or  striking  features.  In  a  word,  the  hearer 
should  obtain  a  glimpse,  here  and  there  at  least,  of  the  melody  or  the 
original  harmony,  and  of  the  fairly  prominent  traits  of  the  Theme. 
Compare  par.  487. 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  52. 


52.  When  the  greatest  freedom  is  desired,  the  variation  cuts  loose 
from  the  usual  guides  (melody,  chords,  or  bass)  and  demonstrates  its 
relation  to  the  Theme  only  by  general  structural  coincidence.  This 
is  the  case  when  the  form,  or  the  general  structural  outline  of  the  Theme 
is  adopted  as  basis,  —  see  par.  45,  condition  4.  The  Theme  is,  so  to 
speak,  reduced  to  its  skeleton,  and  this  is  re-clothed  with,  at  times, 
wholly  new  melodic  and  harmonic  material.  For  example: 


Theme 


P 


( 


tEfe 


V » 


s==&:  ^r 


^ 


JT3 


i 


^?   .IK! J~3 


Par.  52.         THE  SMALL   (OR  SIMPLE)   VARIATION-FORM. 


perf.  cad. 

*i)  The  structural  outline  of  the  Theme  may  be  defined  as  follows: 

A  member  (one  measure),  reproduced  (by  sequence);  a  third  member  (two 
measures),  beginning  as  reproduction  (sequence)  of  the  preceding,  and  leading  to  a 
semicadence  in  the  4th  measure.  Then  a  member  corresponding  to  the  first  one  (as 
repetition),  reproduced  (by  sequence);  a  third  member  leading  to  a  perfect  cadence 
in  the  8th  measure. 

*2)  The  structural  outline  of  the  Variation  is  defined  as  follows: 

A  member  (one  measure),  reproduced  (by  repetition);  a  third  member  (two 
measures)  beginning  as  reproduction  (repetition)  of  the  preceding,  and  leading  to  a 
semicadence  in  the  4th  measure.  Then  a  member  corresponding  to  the  first  one  (as 
sequence),  reproduced  (by  repetition);  a  third  member  leading  to  a  perfect  cadence 
in  the  8th  measure. 

Upon  careful  comparison,  the  student  will  perceive  that  the  two  structural  out- 
lines are  identical.  But  "repetition"  is  substituted  for  "sequence"  in  three  places, 
and  "sequence"  for  "repetition"  in  one  place,  —  thus  arriving  at  a  wholly  new  re- 
sult, from  precisely  the  same  scheme  of  reproduced  members.  The  cadences  occupy 
the  same  points,  but  the  second  (perfect)  one  is  merely  in  a  different  key.  The 
"glimpses"  of  the  thematic  melody  are  revealed  at  the  letters  A  and  B. 

Analyze  the  remaining  half  of  this  Var.  (Mendelssohn,  op.  54);  and  also  the 
following  Var.  (No.  9) .  It  will  be  observed  that  Var.  9  is  twenty  measures  long,  — 
increased  from  the  original  number  (sixteen)  by  repeating  the  last  phrase.  See  par.  53. 

The  "structural  outline"  of  a  Theme  is  defined  by  its  length  (number  of  meas- 
ures), its  form,  the  number  and  harmonic  character  of  its  cadences,  the  presence  of 
repetitions  or  sequences,  and  of  characteristic  traits  of  melodic  progression.  All  these 
traits  may  be  preserved  in  the  variation,  but  so  differently  interpreted  as  to  form  a 
wholly  new  picture.  For  instance,  by  an  unimportant  alteration  of  an  important 
trait  —  retaining  the  location  of  the  cadences,  but  changing  their  harmony  or  key; 
substituting  "sequence"  for  "repetition,"  and  vice  versa;  substituting  "ascending" 
for  "descending"  sequence;  and  so  forth. 


72  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  53. 

53.   The  rule  for  the  variation-form,  during  the  classic  period,  was 
that  the  form  of  the  Theme  should  undergo  no  change;   that  is,  that 
each  variation  should  contain  the  same  number  of  measures  as  the 
Theme  (excepting  the  final  one,  to  which  a  Codetta  or  Coda  might  — 
or  should  —  be  added). 

This  rule  is  not  considered  binding,  in  the  more  modern  era.  JJut_ 
if  js  rhafarfcriyriy  of  the  SiHaXlqr  variation-forms  that  no  essential  alter- 
ationa  of  the  design  of  the  Theme  are  permissible.  The  unessential,  and 
therefore  permissible,  extensions,  are  those  which  result  from  the  simple 
repetition  of  a  phrase,  or  of  a  phrase-member,  —  naturally  with  modi- 
fication; or  from  the  process  known  as  Expansion  (prolonging  a  single 
prominent  melody-  tone  or  chord;  see  Homophonic  Forms,  par. 


Mendelssohn,  op.  54  (Ex.  30);  Variations  i  to  8  are  all  16  measures  long,  like 
the  Theme  j  Var.  9,  as  already  pointed  out,  is  20  measures  long,  because  of  the  rep- 
etition (an  octave  higher)  of  the  fourth  4-measure  phrase;  Var.  13,  similarly,  has  a 
repetition  (an  octave  lower)  of  the  fourth  phrase;  Var.  10  is  extended,  at  the  end, 
to  18  measures. 

In  Beethoven,  op.  34  (F  major)  there  is  an  Expansion,  as  "cadenza,"  in  the  5th 
measure  from  the  end. 

Beethoven,  8  variations  in  F  major  ("Siissmayer");  the  Theme  (with  its  rep- 
etitions) contains  24  measures;  Var.  7  contains  28  —  measures  19-20  of  the  Theme 
being  extended,  by  reiteration,  to  6  measures. 

Beethoven,  24  variations  in  D  major  ("Righini");  in  Var.  23  each  of  the  two 
8-measure  Periods  is  repeated,  with  elaborate  modifications. 

More  vital  transformations  of  the  thematic  design,  peculiar  to  the 
Larger  variation-form,  are  shown  in  par.  63. 

54.  Besides  these  specific  details,  there  are  certain  alterations  of  a 
general  character  which  may  affect  some  of  the  variations  as  a  whole. 
These  are: 

a.  The  change  of  mode,  —  referred  to  in  par.  37,  and  encountered 
already  in  the  Chaconne  (Ex.  18,  Variations  12  to  16). 

See  Ex.  25,  Var.  14. 

Beethoven,  op.  120  ("  Diabelli  ")  ;  the  Theme  is  in  C  major;  Variations  9,  29, 
30,  31  are  in  c  minor. 

b.  The  change  of  key. 

This  more  significant  alteration  is  usually  limited,  in  the  Smaller 
form,  to  next-related  keys,  or  to  the  so-called  Mediant  keys,  which, 
though  remote,  exhibit  peculiarly  vital  ties  of  relationship. 


Par.  54.          THE  SMALL   (OR  SIMPLE)    VARIATION-FORM.  73 

See  Ex.  28,  No.  i;  Var.  6  is  in  the  relative  minor  key.  Ex.  28,  No.  2;  Var.  21 
is  in  the  relative  minor  key.  Ex.  28,  No.  3;  Var.  5  is  in  the  tonic-mediant  key  (/, 
tonic = mediant,  third  step  of  Z?-flat  major). 

Brahms,  op.  9  ("Schumann"  variations);  the  Theme,  and  variations  i  to  8, 
are  in /-sharp  minor;  Var.  9  is  in  b  minor  (the  subdominant) ;  Var.  10  in  D  major 
(subdominant-relative) ;  Var.  n  in  G  major  (remote),  ending  in  /-sharp  minor; 
Var.  15  in  G-flat  major  (  =  F-sharp,  change  of  mode);  Var.  16  in  F-sharp  major. 

Tschaikowsky,  op.  19,  No.  6  (Ex.  31,  No.  i);  the  Theme,  and  variations  i  to 
4,  are  in  F  major;  Var.  5  is  in  Z>-flat  major  (the  tonic-mediant  key);  Var.  6,  F  major; 
Var.  7,  in  the  Phrygian  mode  on  A  (ecclesiastic);  Var.  8  in  d  minor  (the  relative 
key);  Var.  9  in  B-flat  major  (the  subdominant);  Var.  10  in/  minor  (the  change  of 
mode);  Variations  n  and  12  again  in  F  major. 

In  Beethoven,  op.  34,  a  singular  systematic  change  of  key  occurs,  in  descending 
thirds  from  variation  to  variation.  The  Theme  is  in  F  major;  Var.  i  in  D  major 
(mediant  =  dominant);  Var.  2  in  5-flat  major  (tonic  =  mediant,  with  the  preced- 
ing key);  Var.  3  in  G  major  (mediant  =  dominant);  Var.  4  in  £-flat  major  (tonic  = 
mediant) ;  Var.  5  in  c  minor  (mediant  =  dominant) ;  this  keynote,  c,  is  the  dominant 
of  the  original  key,  F;  being  in  the  minor  form,  an  Interlude  follows  (par.  54^), 
during  which  the  triad  changes  to  its  major  form  and  becomes  the  true  dominant  of 
F;  Var.  6,  and  the  Coda,  are  then  again  in  F  major.  Such  extreme  changes  of  key 
are  more  likely  to  occur  hi  the  Larger  form. 

c.  The  change  of  meter  (time-signature). 

Tschaikowsky,  op.  19,  No.  6;  the  Theme,  and  variations  i  and  2,  are  hi  ^ 
measure;  Var.  3  is  in  g  measure;  Var.  4  in  jg  measure  (Ex.  31,  No.  i);  Var.  5  in  ^; 
Var.  6  in  §;  Var.  7  in  f ;  Var.  8  in  |;  Var.  9  in  |;  Var.  10  in  |;  Var.  n  in  ^;  Var. 
12,  and  Coda,  again  in  ®  measure.  It  is  unusual  to  change  the  measure  in  this  man- 
ner in  almost  every  variation.  In  Mendelssohn,  op.  54,  there  is  no  change  at  all; 
in  Beethoven,  op.  35,  there  is  but  one  change  from  4  measure  —  in  Var.  15,  to  Q 
measure. 

d.  The  adoption  of  some  conventional  type  or  style  of  composition 
for  one  or  another  of  the  variations.    Thus,  a  variation  may  assume 
the  character  of  a  March,  Minuet,  Waltz,  Mazurka,  Gavotte,  Aria 
(par.  4&2),  Invention,  Fughetta,  Canon,  or  any  other  type,  —  with 
corresponding  change  of  time-signature  (par.  54^). 

Beethoven,  op.  35;  Var.  7  is  a  Canon  in  the  octave  (compare  Ex.  16,  note  *6)). 
Also  his  op.  1 20  ("Diabelli"  variations);  Var.  i  is  a  March;  Var.  19,  canonic;  also 
Var.  20;  Var.  22  is  patterned  after  Leporello's  first  aria  in  Mozart's  "Don  Giovanni"; 
Var.  24  is  a  Fughetta;  Var.  30,  an  Invention;  Var.  31,  an  Aria;  Var.  32,  a  Fugue. 

Brahms,  op.  9  ("Schumann"  variations);  Var.  8  is  a  Canon  hi  the  octave; 
Var.  14  a  Canon  in  the  second;  Var.  15  a  Canon  in  the  third;  Var.  10  a  "Quodlibet"; 
Var.  9  is  patterned  after  a  composition  of  Schumann  (from  his  op.  99). 


74 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  54. 


Tschaikowsky,  op.  19,  No.  6;  Var.  9  is  a  Mazurka  (Ex.  31,  No.  i). 

Arensky,  Suite  (Variations)  for  two  pianos,  op.  33:  Theme,  Dialogue,  Valse, 
Marche  triomphale,  Menuet,  Gavotte,  Scherzo,  Marche  funebre,  Nocturne,  Polonaise. 

e.  Transformations  of  the  rhythm. 

This  extremely  effective  process  is  applied  to  the  first  melodic 
member  of  the  Theme  (at  least,  —  sometimes  carried  on  consistently 
through  the  entire  Theme),  and  consists  in  so  shifting  the  tones  in  the 
measure  that  the  accented  and  unaccented  points  are  exchanged,  or 
otherwise  modified.  For  example: 

No.  i.  First  mel.  member  of  Theme  Var.  4. 

A  A  A  A 


Ex. 
31 


Var.  6. 


Var.  7. 


*•  =rr^p- 

TSCHAIKOWSKY. 
-   /»^.      -.     -^  Var.   ii.        -. 

I 


Var.  10. 


No.  2.      First  mel.  member 


etc. 


Var.  7.  (Bass) 


LIADOW. 


I 


Two  measures  equal  to  one  of  the  Theme 
No.  3.     First  mel.  member 


ffi4tm 


etc. 


Var.  8. 


RUDORFF. 


l4Rij<;;|J"j£g 


S 


^±^ 


etc. 


No.  4.     First  mel.  member  «i) 


etc. 


Par.  54-         THE  SttALL   (OR  SIMPLE)   VARIATION-FORM. 
Var.  2.  (Tenor) 


75 


-*4- 


s^E 


£g 


S 


etc. 


etc. 


*i)  From  Tschaikowsky's  Trio  in  a  minor,  op.  50  (last  movement). 


To  this  class  of  rhythmic  modifications  belongs  also  the  augmen- 
tation of  the  -Theme,  whereby  one  measure  of  the  latter  is  so  expanded 
as  to  cover  two,  or  more,  in  the  variation. 

See  Ex.  31,  No.  2  (Liadow,  Var.  7).  Also  Glazounow,  op.  72,  Var.  8  (double- 
augmentation)  and  others.  Of  similar  nature  is  Ex.  20  (Brahms),  Var.  12.  The 
less  common  diminution  is  seen  in  Ex.  29. 

/.  The  dcmble-variation.  In  this  rare  species  of  the  form,  two 
strongly  contrasted  patterns  are  alternately  applied,  usually  to  the 
complete  repetition  of  each  phrase  or  Part. 

Beethoven,  24  Variations  in  D  major  ("Righini"  Theme);  Var.  14. 
Beethoven,  Sonata,  op.  109,  third  movement,  Var.  2. 

g.  In  rare  cases,  an  Interlude  is  inserted,  as  transitional  passage, 
between  two  variations.  Comp.  par.  65. 

Beethoven,  op.  34,  between  Variations  5  and  6. 


76  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  55. 

55.    Thp  pntirp  gpQg^^jftpatinnala.jiliimM    iuuJlrtg.hlv  rnnn'flpH  nff 

(as  in  all  the  larger  designs)  wifh  g|P  aHrlitirrn  at  thir  imri)  in  tht  mtnrr_ 
of  a  Coda.  This  final  extension  may  assume  three  different  dimen- 
sions; partly  according  to  the  extent  of  the  Theme  itself,  or  of  the  entire 
composition;  and  partly  in  keeping  with  the  character  of  the  last 
variation,  and  the  general  necessity  of  instituting  good  balance,  and 
effecting  an  adequate  ending.  Thus: 

a.  The  addition  may  be  limited  to  a  brief  Codetta,  of  one  section, 
with  the  customary  repetition,  or  duplication,  and  extension,  —  at- 
tached to  the  last  variation.     (See  the  author's  Homophonic  Forms,  par. 
51.)    A  typical  illustration  of  the  "  Codetta"  is  seen  at  the  end  of  Ex.  34. 

Beethoven,  6  Variations  in  F  ("  Schweizerlied .") ;  the  last  two  full  measures. 
Also,  6  Variations  in  G  (original  Theme);  last  14  measures  (called  "Coda"  in  the 
original,  but  belongs  to  the  Codetta  class,  because  it  consists  of  one  section  only,  — 
two  measures,  repeated  3  times,  and  further  extended  by  5  or  6  repetitions  of  the 
cadence-chords). 

b.  Or  the  addition  may  be  a  complete  Coda.     (Homophonic  Forms, 
par.  98.) 

The  design  of  a  Coda  is  invariably  sectional.  That  is,  it  consists 
of  a  number  of  successive  "Sections,"  the  character  and  extent  of  which 
can  be  determined  only  by  the  composer's  judgment  and  sense  of  pro- 
portion. The  Coda  is  therefore  an  essentially  indefinite  and  formless 
factor,  which,  for  precisely  this  reason,  forms  an  important  contrasting 
element  in  the  otherwise  logical  and  systematic  structure;  and,  in 
dismissing  the  constraint  of  definite  structural  arrangement,  it  affords 
the  writer  full  freedom  to  exercise  his  imagination,  and  create  an  effec- 
tive climax. 

The  term  "Section"  is  here  applied  to  any  episode  of  indefinite  form,  —  in  dis- 
tinction to  the  terms  Phrase,  Period,  Part,  etc.,  whose  structural  conditions  are 
more  or  less  accurately  fixed.  Its  use  in  the  analysis  of  the  Fugue,  Invention,  Fan- 
tasia, and  a  few  other  forms,  is  encountered  in  the  author's  Applied  Counterpoint. 

The  number  of  sections  is  optional. 

The  length  of  a  section  is  optional.  The  final  ones  are  apt  to  de- 
crease in  extent,  and  the  very  last  one  is  practically  identical  with  a 
Codetta. 

The  contents  of  each  section  are  optional,  though  it  is  natural  that 
each  should  refer  more  or  less  directly  to  the  various  members  of  the 
Theme,  particularly  to  the  first  melodic  member.  A  section  may 
constitute  an  additional  variation  (perhaps  extended  —  perhaps  ab- 
breviated), in  which  some  new  pattern  is  utilized,  This  may  occur  in 


Par.  55.          THE  SMALL   (OR  SIMPLE)    VARIATION-FORM. 


77 


several  successive  sections,  as  incomplete  variations.  It  is  not  unusual 
to  devote  one  section  of  the  Coda  to  a  re-statement  of  the  Theme,  or  of 
its  first  phrases,  as  traditional  da  capo. 

Schubert,  Impromptu,  op.  142,  No.  3,  J5-flat. 

See  also,  Beethoven,  op.  34;  op.  35;  and  the  33  variations  in  c  minor.  The 
Coda  in  each  of  these  sets  contains  additional  complete  variations. 

It  is  also  possible  to  introduce  new  material  (though  not  wholly 
irrelevant)  in  one  or  more  of  the  sections. 

The  sections  may  be  separated  from  each  other  by  fairly  complete 
cadences,  or  —  as  is  more  common  —  each  may  be  carried  over  unin- 
terruptedly into  the  following  one.  The  beginning  of  a  new  section,  in 
case  of  such  unbroken  transition,  is  shown  by  a  positive  change  of 
rhythm,  or  of  pattern. 

A  section  is  frequently  duplicated,  in  sequence. 

In  a  general  sense,  the  Coda  (and  also  the  "Finale")  is  a  free,  fan- 
tasia-like, manipulation  of  salient  fragments  of  the  Theme,  thus  differ- 
ing from  the  variations,  in  which  the  whole  theme  is  present. 


Theme 


etc. 


Var.   12. 


rrwrt 


:.  to 


& 


S2HI___ 

3-H-S- 


Section  i  (21  measures) 


II  Sec.  2  (10  measures) 


etc.  to 


78  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  5s. 


Sec.  3  (8  meas.) 

rs 


gg£ 


etc.  to 


etc.  to 


Hi     mm 


f 


DP- 


5        i^ 

Sec.  4  (10  meas.) 

"a 


sfc 


-s*-« 


L 


I    !    |4— 
?  i  ,•  i  ^44  p= 

!   nil. I      lull      I   ]  t<^ 


^^± 


etc.  to 


Sec.   5    (41   measures) 


-=1 * 


Tf-T-        -T  =i  F- 

^_I  —         _^_               ^J                      —  U— 

o 

—  1^""              ~L-J- 

£^V« 

1  i  J  1  'T 

J  •                   P»«  "•    d 

j  • 

DA  2z    ^ 

'             hm90          *    J 

hj  »     *•  . 

!/•              • 

etc.  to 


Sec.  6  (12  meas.) 


If      f.f    f  f  f 

|T1  I  4^  I          V     \        V- 


r*1          f*^          Sec.  7  (4  meas.) 

; 

^5      y** 


Par.  55.          THE  SMALL   (OR  SIMPLE)    VARIATION -FORM. 


Sec.  8       (S  measures)        BEETHOVEN. 
N- 


79 


*i)  A  Russian  dance.  The  Theme,  19  measures  long,  is  Incipient  Three-Part 
form. 

*2)  The  Coda  is  attached  to  the  i2th  (last)  variation.  It  will  be  observed  that 
each  of  its  seven  Sections  utilizes  the  first  melodic  member  of  the  Theme.  Section  i 
is  a  three-voice  Invention,  in  double-counterpoint. 

*3)  Section  8  is  the  final  "Codetta":  The  two  measures  here  shown,  duplicated 
and  extended. 

See  also:  Beethoven,  24  Variations  in  D  major  ("Righini").  The  Coda,  which 
is  attached  to  the  last  variation,  begins  with  a  section  of  8  measures,  consisting  of  a 
new  (but  related)  melodic  member;  it  is  repeated  and  extended,  and  closes  with  a 
complete  tonic  cadence,  of  intentionally  humorous  character.  Section  two,  based 
upon  the  first  phrase  of  the  Theme,  is  8  measures  long;  then  repeated  and  skilfully 
spun  out  (30  measures).  Section  three  (allegro)  grows  out  of  the  end  of  this,  and  is 
16  measures  long,  with  a  strong  dominant  semicadence.  Section  four  (presto  assai) 
48  measures  long,  to  the  end,  is  based  upon  the  first  period  of  the  Theme,  and  humor- 
ously drawn  out,  in  four  successive  augmentations. 

Rubinstein,  c  minor  pfte.  Sonata,  op.  20,  second  movement.  The  Coda,  at- 
tached to  the  4th  Var.  (which  has  an  evaded  cadence),  consists  of  three  brief  sections, 
each  of  which  reviews  the  pattern  of  foregoing  variations;  then  a  fourth  section  of  n 
measures,  to  the  end. 

Liadow,  op.  51  (Ex.  31,  No.  2),  has  a  Coda,  attached  to  the  last  variation,  con- 
sisting of  a  section  based  upon  the  first  melodic  member  (8  measures,  duplicated  and 
spun  out,  20  measures);  and  a  second  section,  with  slightly  different  treatment  of 
the  same  member,  1 1  measures,  to  the  end. 

Mendelssohn,  op.  54.  The  Coda  follows  the  lyth  Var.;  its  first  section  is  based 
upon  the  last  phrase  of  Var.  16  (24  measures,  very  brilliant);  section  two  is  a  partial 
da  capo,  —  the  first  Part  of  the  Theme,  extended  (14  measures,  with  strong  domi- 
nant semicadence);  section  three  (presto),  21  measures  long,  is  a  partial  variation; 
section  four  (12  measures)  is  a  partial  duplication  of  section  three;  section  five, 
similar,  is  8  measures  long;  section  six,  its  duplication  and  extension,  comprises  20 
measures,  to  the  end. 

c.  The  "Finale"  is  wholly  independent  of  the  last  variation,  and 
therefore  constitutes  a  separate  movement,  by  itself.  In  design,  it 
corresponds  to  the  Coda,  being  sectional  in  form.  But  it  is  somewhat 


80  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  55. 

characteristic  of  a  Finale,  that  its  first  section  is  polyphonic,  assuming 
the  appearance  of  a  fugue-exposition,  or  of  an  extended,  genuine  fugue, 
of  two  or  more  fugato  sections.  For  this  a  subject  is  naturally  chosen 
that  is  derived  directly  from  the  initial  phrase  of  the  Theme. 

Beethoven,  op.  35  (Ex.  28,  No.  i),  Finale.  The  first  section  is  quite  a  lengthy, 
ingenious  Fugue,  whose  subject  represents  the  bass  of  the  Theme  (see  par.  50,  in  the 
notes  to  which,  the  whole  Finale  is  described). 

Brahms,  op.  56  (orchestral  variations  on  a  Theme  of  Haydn).  The  Finale  is 
the  basso  ostinato  given  in  Ex.  9;  dissolved  into  a  Coda. 

Or  the  entire  Finale  is  a  Concert-fugue,  —  sectional,  of  course. 

Brahms,  op.  24  ("Handel"  variations),  Finale. 

Or  some  later  section  of  the  Finale  may  develop  into  a.  fugato. 

E.  Radorff,  Variations  for  orchestra,  op.  24  (Ex.  31,  No.  3),  Finale.  A  masterly, 
extremely  ingenious  work.  The  Finale  consists  chiefly  in  a  series  of  fragmentary 
variations,  including  a  fugato. 

Otherwise,  or  in  addition  to  these  polyphonic  sections,  the  Finale 
is  similar  in  character  to  the  Coda,  and  is  subject  to  the  same  conditions. 
The  impression  conveyed  is,  as  stated,  that  of  fragmentary  manipula- 
tion, with  a  view  to  brilliancy  and  an  effective  climax. 


The  student  should  make  a  thorough  study  of  as  many  of  the  fol- 
lowing Variation-forms  as  he  can  procure,  and  of  any  others  which 
he  may  encounter  ( —  first  glance  at  pars.  65  and  66) : 

Mozart,  pfte.  Sonata,  No.  9  (Schirmer  edition),  first  movement. 
Mozart,  pfte.  Sonata,  No.  15,  last  movement. 
Beethoven,  12  Variations  in  A  ("Russian";  Ex.  32). 
Beethoven,  24  Variations  in  D  ("Righini"). 

Beethoven,  op.  35  (Ex.  28,  No.  i).  And  other  Variations  of  Beethoven,  easily 
recognizable  as  Smaller  form. 

Beethoven,  pfte.  Sonata,  op.  14,  No.  2,  Andante. 
Beethoven,  pfte.  Sonata,  op.  109,  Andante. 
Beethoven,  pfte.  Sonata,  op.  57,  Andante. 

Beethoven,  pfte.  Sonata,  op.  in,  second  movement  (in  some  respects,  Larger 
form). 

Beethoven,  Fantasia,  op.  77,  Allegretto. 

Eeethoven,  Sonata  for  pfte.  and  violin,  op.  12,  No.  i,  second  movement. 


Par.  55.         THE  SMALL   (OR  SIMPLE)   VARIATION-PORM. 


81 


Beethoven,  Sonata  for  pfte.  and  violin,  op.  30,  No.  i,  third  movement. 

Beethoven,  Sonata  for  pfte.  and  violin,  op.  96,  last  movement. 

Beethoven,  pfte.  Trio,  op.  i,  No.  3,  second  movement. 

Beethoven,  pfte.  Trio,  op.  n,  last  movement. 

Beethoven,  String-quartet,  op.  18,  No.  3,  second  movement. 

Schubert,  Impromptu,  op.  142,  No.  3,  5-flat. 

Mendelssohn,  Sonata  for  pfte.  and  'cello,  op.  17. 

Mendelssohn,  Variations  for  pianoforte,  op.  54  (Ex.  30). 

Brahms,  pfte.  Sonata,  op.  i,  Andante. 

Brahms,  pfte.  Sonata,  op.  2,  Andante. 

Brahms,  pfte.  Var.,  op.  24  ("Handel";  Ex.  28,  No.  2). 

Brahms,  String-sextet,  op.  18,  Andante. 

Brahms,  String-sextet,  op.  36,  Adagio. 

Brahms,  String-quartet,  No.  3,  op.  67,  last  movement. 

Brahms,  pfte.  Var.,  op.  21,  No.  i. 

Brahms,  pfte.  Var.,  op.  21,  No.  2  (quasi  Chaconne-form). 

Schumann,  Impromptus,  op.  5. 

Karl  Nawratil,  pfte.  Var.,  op.  7. 

Tschaikowsky,  pfte.  Var.,  op.  19,  No.  6  (Ex.  31,  No.  i). 

Paderewski,  Var.  and  Fugue,  op.  n  (comprising  some  traits  of  the  Larger  form). 

Paderewski,  op.  16,  No.  3  (ditto). 


EXERCISE  5. 

A  number  of  examples  of  the  Theme  with  variations  in  the  Small  or  Simple 
form,  with  Codetta,  Coda,  or  Finale.  The  student  may  select  a  Theme  from  any 
source  (but  see  par.  40);  or  may  invent  original  Themes.  The  following  Theme  is 
submitted  for  manipulation: 


J 

33.  \ 

—  \f 

i 

1              '         i 

/L  hi  * 

J           I 

«      J 

(a)™!'  -          " 

4  *  U 

3  —     •"   J 

zs 

—  J  

* 

£3 

PP 

^          ^                     -      "^             ^     m        -.             ^> 

t^i"      1                     | 

P      r 

E""   ^ 
r 

t-^ 

\                  \ 

1        1        g- 

-#  U 

82  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  56. 


GOETSCHIUS. 


— 

•-^ 

H-    J^ 

1       | 

-^ 

'    b. 

\ 

T| 

*s 

\J 

\/9 

I7« 

g 

u  J 

«>        II 

xT  n 

^ 

. 

—  *  —  -fi 

f 

«^— 

?  —  H 

gpy  . 

•  —  ^  — 

^  

—  =  —  i 

f 

^•F  • 

r  ~f  " 

~~^5>- 

» 

^J 

^ 

//T 

1 

=— 

^"v  • 

^n                          U 

s*!}  -***      '       '     *" 

u_ 

• 

*  I  • 

Z  •          17* 

-vf-^ 

X     vt 

I 

2J.  h 

^ 

^ 

L 

CHAPTER  VI. 

THE   LARGE    (OR   HIGHER)   VARIATION-FORM. 

56.  The  distinction  between  the  Small  and  Large  grades  of  the 
variation-form  is  denned  primarily  hy-th^  length  pf  *hp  ^b"^?  whirh 


in  the  higher  grade,  is  usually  the  Three-Par^  ftong-f  orm  (Beethoven, 
Dp.  .^4),  [jOinetimes  Incomplete  (Mendelssohn,  op.  82,  and  op.  83). 
Comp.  par.  4o,and  see  the  Comparative  Table  at  the  head  of  this 
Division. 

57.   But  the  two  grades  are  differentiated  in  a  much  more  vital 
respect,  and  this  concerns  the  whole  artistic  aspect  and  the  consequent 

treatment,  Which  is  more  Creative  than  imitn.Hypj  nnr[  rrjnrp 


58.  The  mass  of  directions  in  the  preceding  chapter,  which  might 
be  feared  to  hamper  and  stultify  the  student's  original  conception,  were 
given  in  systematic  detail  because  these  constitute  the  technical  basis  of 
the  problem  of  variation;  and  this  must  be  mastered  before  it  is  wise 
to  break  loose  from  the  lines  of  the  Theme,  and  venture  to  develop  it 
with  freedom. 


Par.  59.         THE  LARGE   (OR  HIGHER)   VARIATION -FORM.  83 

59.  But  in  the  higher  grade,  the  student  gives  free  rein  to  his  imagi- 
nation, and  evolves  more  independent  results  from  his  Theme.    In 
this  grade,  the  variations  are  more  properly  Elaborations  than  mere 
modified  duplications  of  the  Theme. 

— ttehce  it  is  that,  while  a  longer  Theme  is  usually  chosen,  as  affording 
a  wider  field  of  operation,  it  is  nevertheless  possible  to  develop  an  im- 
posing work,  decidedly  "large"  in  spirit,  from  a  comparatively  brief 
Theme.  Two  conspicuous  examples  of  this  are  the  variations  by 
Glazounow,  op.  72,  on  a  Russian  melody  of  only  seven  measures  (Ex. 
35);  and  those  by  Rachmaninow,  op.  22,  on  the  c  minor  Prelude  of 
Chopin,  which  is  a  period  of  8  measures. 

60.  a.  The  leading  purpose  in  the  smaller  grade  is  technical  man- 
ipulation, —  "variation,"  with  fairly  direct  reference  to  the  Theme. 

In  the  larger  grade  the  leading  purpose  is  imaginative  and  creative 
manipulation,  —  elaboration,"  with  only  general  allusion  to  the 
Theme.  The  variation  is  not  the  prime  object,  but  becomes  the  means 
to  an  eminent  artistic  end. 

b.  It  must  be  understood,  however,  that  not  every  variation  assumes  broader 
proportions;  the  first  few  variations  are  always  more  directly  related  to  the  Theme, 
and  the  impulse  of  freedom  grows  as  the  form  advances.  In  this  respect  the  varia- 
tions of  Glazounow  (op.  72)  are  typical  and  highly  effective. 

61.  Such  a  creative  process  cannot  always  be  carried  on,  with  the 
necessary  freedom,  within  the  exact  limits  of  the  Theme.    The  con- 
fines of  the  latter  must  be  broken  through,  its  lines  broadened,  its  scope 
widened,  to  make  room  for  the  unrestricted  exercise  of  imagination, 
and  to  provide  increased  opportunity  for  free  development. 

This  manipulation  and  expansion  of  the  structural  design  of  the 
Theme  may  be  conducted  in  two  ways: 

1.  So  as  to  secure  unessential  extensions  of  the  Theme,  by  mere 
repetitions,  or  Expansions,  which  do  not  alter  the  form;  and 

2.  So  as  to  effect  more  or  less  complete  transformation  of  the  design. 

62.  a.  The  first  class,  unessential  extensions,  may  be  applied  in 
both  the  smaller  and  larger  grades  of  the  variation-form.     Their  opera- 
tion in  the  smaller  grade  is  explained  in  par.  53,  which  review. 

b.  The  second  class,  transformation  of  the  design  (always  as  en- 
largement), involves  a  number  of  independent  additions  to  the  original 
members  of  the  Theme,  which  may  all  be  classed  under  the  head  of 
Insertions. 

63.  There  are  three  kinds  of  independent  insertions,  as  follows: 


84 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  63. 


—     a.  The  insertion  of  a  Codetta^  possible  at  any  -important  (tonic) 
cadence  in  the  course  of  the  variation;  and,  ot  course,  even  more  plau- 
"git;T^_"jLthr  anA  ^f  **"*  ™»"«*''™  "~ 


This  is  always  feasible,  because  a  Codetta  is  defined  as  "an  extension  at  the 
cadence,"  —  not  of  the  cadence  itself,  but  sufficiently  independent  of  it  to  constitute 
a  fairly  distinct  member  of  the  design;  and  this  may  be  applied  to  any  Ionic  cadence 
in  the  course  of  the  design,  especially  to  any  one  which  terminates  a  "Part"  (or 
Period)  of  the  form.  (See  Homophonic  Forms,  par.  gSa  and,  particularly,  g8c). 

For  illustration: 


Theme  (Double-period) 


Dom.  Cad. 


Ant.  Phr. 


ifrTTT? 


Con.  Phr. 


Second  Period 


Var.  8.      First  Period 


m 


^m& 


-*=* 


Insertion 


Par.  63.          THE  LARGE    (OR  HIGHER)    VARIATION-FORM. 


Second  Period 

s* v 

5 


1 K r -J1    i     I    I-. 


Codetta 


86  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  63. 

*i)  This  variation  is  a  transposed  presentation  of  the  Theme,  from  ^4-flat  major 
to  its  relative  minor. 

*2)  This  Insertion  of  four  measures  is  practically  an  Expansion  of  the  cadence- 
chord  (chord  of  c  —  first  as  tonic  of  c  minor,  and  later,  with  e-natural,  as  dominant 
of/  minor);  but  it  is  so  distinct  in  style  as  to  become  an  independent  "Codetta." 

*3)  The  second  Period  is  exactly  similar  to  the  first  Period,  excepting  that  its 
Consequent  phrase  is  shifted  a  4th  higher,  precisely  as  in  the  Theme. 

*4)  Here  the  Insertion  is  a  genuine  4-measure  Codetta,  with  the  customary 
duplication  and  extension.  See  the  original. 

b.  TJie  insertion  of  a  Duplication;  —  either  as  complete  sequence 
of  a  phrase  (or  other  member  of  the  form);    or  as  reproduction  (quasi 
,  with  a  different  aiding  (cadence). 


Such  reproductions,  contradicting  the  principle  of  mere  "repetition,"  as  they  do, 
constitute  actual  alterations  of  the  form,  and  therefore  contribute  to  its  enlargement. 

The  "Sequence"  is  shown  in  Ex.  35,  note  *3). 

The  "Duplication"  (with  new  cadence)  occurs  in  Var.  n  of  the  same  work 
(Glazounow)  :  The  first  Phrase,  corresponding  to  the  first  half  of  the  Theme 
(Ex.  35),  is  8  measures  long,  because  two  of  its  measures  represent  one  measure  of 
the  Theme;  it  begins  in  F-sharp  major,  and  cadences  on  the  dominant;  the  second 
Phrase  is  ostensibly  a  "repetition"  of  this  —  but  proves  to  be  a  "duplication,"  as  it 
cadences  on  the  tonic  of  A  major.  (See  par.  i  id.) 

3   .        c.  Thp  intuition  of  an  entire  Part.    This  is  the  most  significant 
method,  as  it  results  in  complete  transformation  of  the  design. 

This  is  best  illustrated  by  a  diagram,  —  applied  to  the  simple  Period-form: 
Given  a  period,  as  follows,  in  parallel  construction  (the  Consequent  phrase  be- 
ginning, at  least,  with  the  same  melodic  member  as  the  Antecedent  phrase)  : 

Ant.  Phr.  Conseq.  Phr. 


cad. 
If  the  two  phrases  are  drawn  apart,  thus: 

Ant.  Phr.  Con.  Phr. 

II  ---         _  ™~_ 


cad. 


far  enough  to  admit  of  a  genuine  Insertion  as  actual  Departure,  or  Second  Part,  the 
Consequent  phrase  becomes  a  Third  Part,  with  its  evidence  of  a  "Return  to  the  be- 
ginning" (being  parallel  with  its  Antecedent),  and  the  simple  Period-design  has  been 
transformed  into  a  Three-Part  Song-form.  The  Antecedent  phrase  can  easily  be  ex- 
tended to  the  dimension  of  an  adequate  First  Part,  by  the  means  indicated  in  par.  636 
(above).  Thus: 


Par.  63.         THE  LARGE   (OR  HIGHER)   VARIATION-FORM. 


Part  I. 
|| 


Part  II  as 
^  Insertion 
(same  pattern) 


Part  III. 

/ — v~ 


Though  a  digression,  or  "departure,"  it  is  obvious  that  this  inserted  Second  Part  — 
in  common  with  all  Insertions  —  must  consist  of  strictly  related,  homogeneous 
material.  It  will,  at  least,  always  utilize  the  same,  or  a  very  similar,  pattern. 

For  illustration  of  all  three  of  the  above  classes  of  Insertion: 

Theme.     Andante 

Antecedent  Phrase 


i 


•^ 


^^ 


Ex. 
35.' 


Consequent  Phr. 


Pattern 


yTr~^= 


Insertion  (5  meas.) 


r 

cad.   *3)   Sequence  of  Ant.   Phr.     etc.  to          *4)      cad. 


88  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  63. 

Insertion   (4  meas.) 


ESW 

3= 


:i*=f 


etc.  to 


*=£ 


^ 


GLAZOUNOW,  op.  72. 


1 


Extension  etc.  to 


*i)  The  construction  of  the  Theme  (Period-form)  is  parallel;  that  is,  the  Conse- 
quent phrase  begins  like  the  Antecedent. 

*i)  At  this  point  the  second  measure  of  the  (Antecedent)  phrase  is  omitted  — 
hence  the  abbreviation  to  seven  measures.  In  every  variation  this  wanting  measure 
is  inserted;  see  note  *7), 


Par.  63.         THE  LARGE   (OR  HIGHER)    VARIATION -FORM.  89 

*3)  The  Insertion  is  a  sequential  duplication  of  the  first  phrase  (par.  636). 

*4)  This  cadence,  for  emphasis,  fills  an  extra,  fifth,  measure. 

*5)  The  Insertion  is  equivalent  to  a  complete  Second  Part  (par.  6y),  which, 
though  a  new  member  of  the  design,  is  developed  out  of  the  pattern  of  the  First 
Part,  and  alludes  (in  the  uppermost  part)  to  the  first  member  of  the  thematic  melody. 

*6)  The  "return  to  the  beginning,"  corresponding  here  to  the  Consequent 
phrase  of  the  Theme  (comp.  note  *i). 

*7)  This  is  the  inserted  measure,  referred  to  in  note  *2). 

*8)  The  Codetta  is  built  upon  the  prevailing  pattern,  and  coincides  with  Part  II. 

This  work  of  Glazounow  will  repay  thorough  analysis;  the  student  should 
endeavor  to  verity  tne  following  traits:  Var.  i  is  practically  a  re-statement  of  the 
Theme,  with  full  harmony,  and  "corrected"  to  8  measures.  Var.  2,  similar  (melody 
exact).  Var.  3,  similar,  —  extended  at  the  end  to  9  measures.  Variations  4,  5  and  6 
(each  8  measures)  abandon  the  direct  line  of  thematic  melody,  but  refer  closely  to  it. 
Var.  7  is  the  "transformed"  design,  shown  in  Ex.  35.  Var.  8  is  a  curious  double 
augmentation  (four  measures  equal  to  one  of  the  Theme);  the  melody  is  traceable 
as  described  in  par.  48/5  a  Codetta,  with  duplication  and  extension,  is  added  (last  14 
measures).  Var.  9  (.4  major)  is  in  3-Part  Song-form:  Part  I  is  the  8  measures  of 
the  Theme,  but  with  "false"  cadence  —  in  F  major;  Part  II  is  an  Insertion,  based 
on  the  prevalent  pattern;  Part  III  is  a  partial  recurrence  of  Part  I,  but  transposed, 
and  extended  by  a  brief  Codetta,  and  an  Expansion.  Var.  10  is  also  transformed  into 
3-Part  Song-form:  Part  I  is  the  8-measure  Theme,  with  correct  cadence  —  a  complete 
variation;  Part  II  is  an  Insertion,  based  on  the  second  member  of  the  Ant.  Phrase 
(presented  four  times  in  sequence);  Part  III  is  like  Part  I,  but  "Incomplete"  — 
consisting  of  the  Conseq.  Phrase  only;  a  Codetta  is  added.  Var.  n  (F-sharp  major) 
is  also  3-Part  Song-form;  Part  I  (16  measures  —  two  measures  to  one  of  the  Theme) 
is,  like  Var.  9,  the  Theme  with  "false"  cadence  —  hi  A  major;  Part  II  is  based  on 
the  prevailing  pattern;  Part  III  like  Part  I,  but  "Incomplete,"  also  stating  the 
Conseq.  Phrase  only;  a  Codetta,  with  duplication  and  extension,  is  added.  Var.  12 
is  a  sort  of  Fantasia  (sectional  form),  approximating  a  Group  of  (four)  Parts;  the 
whole  variation  is  a  unique  combination  of  the  first  and  second  members  of  the  Ant.' 
Phrase  (measures  1-2,  3-4)  —  the  latter  member  everywhere  ih  "Diminution";  a 
brief  Codetta  is  added.  Var.  13  is  a  Group  of  (three)  Phrases:  Phr.  i,  the,Ante-v^_ 
cedent;  Phr.  2,  a  Sequence  (representing  the  Consequent);  Phr.  3,  another  Sequence, 
greatly  extended;  a  Codetta  is]added,  the  duplication  of  which  is  the  Conseq.  Phrase 
complete.  Var.  14  —  an  exquisite  example  of  creative  evolution  —  is  also  a  3-Part 
Song-form;  Part  I  is  the  Theme  complete,  with  the  melody  in  the  tenor,  and  a 
"Counter-melody"  in  the  soprano;  Part  II,  an  Insertion,  is  the  sequential  develop- 
ment of  this  Counter-melody;  Part  III  is  a  literal  recurrence  of  Part  I;  three  brief 
Codettas  are  added.  The  following  number  is  a  genuine  Finale  (named,  erroneously, 
"Var.  15,"  —  comp.  par.  ssc). 

See  also:  Liadow,  op.  51  (Ex.  34).  In  Var.  i  the  form  of  the  Theme  is  un- 
changed. In  Var.  2  it  is  extended  by  unessential  repetitions.  Var.  3  is  extended: 
by  an  Introduction  of  two  measures  (see  par.  65-2);  and  by  the  Insertion  of  an 
additional  2-measure  member  (duplicated)  at  the  end  of  Phr.  2  —  and  Phr.  4.  In 
Var.  4,  the  form  is  enlarged  by  the  insertion  of  a  Codetta  at  the  end  of  Phr.  2  — 

/        * 


90  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  64. 

and  Phr.  4,  and  an  additional  brief  Codetta  at  the  end.  In  Var.  5  the  form  is  un- 
changed. In  Var.  6  (a  partial  Canon)  the  form  is  enlarged  by  extensions,  and  Co- 
dettas (as  in  Var.  4  and  Var.  8).  Var.  7  contains  an  inserted  Codetta  at  the  end 
of  Phrase  2;  this  Codetta  is  duplicated  and  extended;  the  corresponding  Codetta 
appears  at  the  end  of  the  4th  Phrase,  duplicated,  and  extended;  the  extension  is 
"dissolved"  (see  par.  78)  into  a  "Transition"  into  the  next  variation  (see  par.  65-4). 
Var.  8  is  illustrated  in  Ex.  34.  Var.  9  is  extended  by  the  simple  (exact)  repetition 
of  the  second  Period.  Var.  10  is  enlarged  by  an  independent  Introduction,  and 
by  extensions  and  Codettas;  and  to  this  Var.  is  added  the  Coda:  Section  i,  eight 
measures,  is  based  on  the  first  melodic  member;  it  is  duplicated  and  greatly  ex- 
tended; Section  2,  similar,  covers  the  last  n  measures. 

64.  In  the  higher  form  of  the  variation,  where  such  transformations 
of  the  design  are  undertaken,  it  is  almost  obligatory  to  adopt,  and 
adhere  to,  the  melody-line  of  the  Theme  (in  a  certain  sense  as  if  it  were  a 
Fugue-subject),  as  this  is  the  only  line  of  contact  which  will  demon- 
strate with  sufficient  clearness  the  relation  of  the  (quasi  distorted)  varia- 
tion to  its  Theme. 

65.  Besides  the  Insertions,  described  in  par.  63,  which  enter  into 
the  very  grain  of  the  Theme,  and  develop  it  from  within,  there  are 
other  —  extraneous  —  additions,  which  may  be  attached  to  certain 
variations,  or  to  the  whole  series,  namely: 

*>«      i.  An  independent  Introduction  to  the  entire  work. 

Beethoven,  op.  35. 
•_    2.   A  brief  Introduction  to  any  single  variation. 

Liadow,  op.  51,  Var.  3  and  Var.  10. 
^g^n     7.   Ai^JnterludfilicfaEe.£ji_yiEfl^uc.^ssuj^y^iiitiDii&^par.  "\4?). 

4.  A  Tfftn"rtfln  from  wre  •trariaHr>n  lntr>  thp  next. 

Liadow,  op.  51,  Var.  7  into  Var.  8. 
—  ~,     5.  And  the  usual  Coda  or  Finale  —  which  is  almost  indispensable. 


The  directions  lor  tEeS^WJlvwiin  par.  55^  and  c. 

66.  Earnest  thought  should  be  directed  to  the  series  of  variations 
as  a  whole.  It  is  advisable  to  compose  a  number  of  variations  (possibly 
a  much  larger  number  than  will  be  needed),  as  the  moods  come,  and 
then  to  select  from  this  number  (rejecting  in  cold  blood  the  less  effective 
or  obviously  superfluous  ones)  those  that  will  constitute  an  effective 
dramatic  succession,  with  a  view  to  good  contrasts,  and  to  the  proper 
number  and  degree  of  climaxes.  As  already  stated  (par.  606),  the  first 
few  variations  are  simpler  than  the  later  ones,  and  refer  more  directly 


Par.  66.         THE  LARGE   (OR  HIGHER)   VARIATION-FORM.  91 

to  the  Theme.  The  changes  of  key,  rhythm,  and  tempo,  constitute 
the  chief  means  of  obtaining  variety  and  progressively  accumulating 
interest. 

Here,  again,  the  student  is  advised  to  make  a  conscientious  study 
of  the  following  variation-forms,  in  all  of  which  the  traits  of  the  Larger 
or  Higher  grade  are  present: 

Haydn,  pfte.  variations  in/  minor  (unusually  long  Theme,  in  the  form  of  a  "Song 
with  Trio"). 

Beethoven,  Sonata  for  pfte.  and  violin,  op.  47  ("Kreutzer"),  second  movement. 
—  Pfte.  Sonata,  op.  26,  first  movement.  —  Pfte.  variations  in  F  major,  op.  34.  — 
Pfte.  var.  in  C  major,  op.  120  ("Diabelli"). 

Schubert,  pfte.  Sonata,  No.  i,  Andante. 

Brahms,  op.  9  ("Schumann").     This  set  has  no  Coda. 

Brahms,  orchestra  variations,  op.  56  ("Haydn");  see  Ex.  9,  which  is  the 
Finale. 

Brahms,  pfte.  Trio  in  C  major,  op.  87,  Andante. 

Brahms,  pfte.  var.,  4  hands,  op.  23  ("Schumann"). 

Mendelssohn,  pfte.  var.,  op.  82,  and  op.  83. 

Chopin,  pfte.  var.,  op.  12. 

Chopin,  Concert-variations,  pfte.  and  orchestra,  op.  2  ("Don  Juan"). 

Schumann,  pfte.  Sonata,  op.  14,  third  movement. 

Schumann,  pfte.  var.,  op.  i  ("Abegg"). 

Schumann,  Symphonic  Etudes,  pfte.,  op.  13.  The  remote  reference  to  the  Theme, 
in  some  of  the  numbers,  induced  Schumann  to  substitute  the  term  Etude  for  Varia- 
tion. 

Schumann,  Var.  for  two  pianos,  op.  46. 

Mrs.  H.  H.  A.  Beach,  "Balkan"  variations,  op.  60. 

Dvorak,  pfte.  var.,  op.  36. 

Arensky,  Suite  (Var.)  for  two  pianos,  op.  33. 

Cesar  Franck,  Symphonic  var.  for  pfte.  and  orchestra  in  /-sharp  minor,  —  a 
work  of  broad  design  and  most  masterly  execution. 

Karl  Nawratil,  pfte.  var.,  op.  15. 

Ed.  Schiitt,  pfte.  var.,  op.  62.  —  Also  op.  29  (Var.  and  Fugato). 

Grieg,  Ballade  for  pfte.,  op.  24. 

Liadow,  op.  51  (Ex.  34). 

Glazounow,  op.  72  (Ex.  35). 

Rachmaninow,  op.  22  (Chopin-Pr61ude,  c  minor). 


92  TUB  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  67. 

Paderewski,  e-flat  minor,  op.  23  (Fugue- Finale). 
Saint-Saens,  Var.  for  two  pianos,  op.  35  ("Beethoven"). 

D.  G.  Mason,  Elegy  in  free  var.-form,  op.  2. 

E.  R.  Kroeger,  pfte.  var.,  op.  54. 

Rudorff,  Var.  for  orchestra,  op.  24  (Ex.  31,  No.  3). 


EXERCISE  6. 

A.  An  example  of  the  Larger  variation-form,  with  Coda  or  Finale,  upon  a  Theme 
in  3-Part  Song-form,  without  essential  change  of  form. 

B.  An  example  upon  a  Theme  in  2-Part  Song-form,  with  Insertions  (Codettas, 
—  and  enlargement  to  3-Part  form)  in  some  of  the  later  variations;  and  with  Coda 
or  Finale. 

C.  Several  examples  upon  a  brief  Theme  (not  less  than  Period,  or  Double- 
period, —  preferably  in  parallel  construction),  with  Insertions  that  effect  complete 
transformation  of  the  form  into  larger  designs,  in  some  of  the  later  variations;  and 
with  Coda  or  Finale.    See  par.  65,  and  par.  66. 


DIVISION   TWO. 
THE    RONDO-FORMS. 

INTRODUCTION. 

67.   The  constructive  Basis  of  the  several  forms  of  musical  composi- 
tion may  be  classified  as  follows: 

a.  That  of  the  Phrase  is  the  melodic  figure,  or  member,  borne  out 
by  the  chord-successions. 

b.  That  of  all  Homophonic  Forms  (Period,  Double-period,  Two- 
and  Three-Part  Song-forms,  with  or  without  "Trio")  is  the  Phrase. 

c.  That  of  the  Invention,  and  other  smaller  polyphonic  forms,  is 
the  Motive  (or  Phrase-member). 

d.  That  of  the  Fugue  is  the  Subject,  or  complete  melodic  phrase. 

e.  That  of  the  Canon  is  the  continuous  melodic  Leader. 

f.  That  of  the  Variation,  and  all  other  Larger  forms  (Rondo,  Sonata), 
is  the  Theme,  or  complete  musical  sentence. 


Par.  68.  THE  RONDO-FORMS.  93 

68.  A/* Theme/'  as  shown  if)  |,pP  variatir»n-fr>rmgj  i'c  an  tW<>ftf-ff//o«t/ 

musical  sentence,  distinctive  in  style  and  character,  and  usually  complete 
inits  structural  design.     Therefore  its  smallest  dimension  will  naturally" 
be    a    Period-form  —  eight    ordinary    measures  —  consisting    of    two 
Phrases  which  balance  and  complement  each  other,  and  therefore 
enclose  definite  and  sufficient  contents. 

But  it  is  more  likely,  especially  in  broader  designs,  to  be  more  than  a 
single  Period,  and  is  perhaps  most  commonly  a  full  Song-form,  of  two 
or  three  Parts,  —  though  rarely,  if  ever,  longer  than  the  latter,  except- 
ing when  extended  by  unessential  repetitions. 

A  Theme  may  be  of  any  melodic,  harmonic,  or  rhythmic  character; 
but  its  message  must  be  clearly  expressed,  and  must  be  significant,  — 
for  only  such  are  available  for  effective  development. 

Comp.  par.  39;  but  note  that  the  definitions  there  given  refer  to  a  Theme  de- 
signed for  variation.  The  Theme  of  a  Rondo  or  Sonata  should  be  more  vitally  in- 
dividualized; not  only  for  its  own  sake,  as  standard-bearer  of  the  composition,  but 
also  in  order  to  invite  logical  manipulation  and  development.  See  par.  72. 

69.  In  all  of  the  Larger  Forms  (beyond  the  Variation-form)  there 


are  at  Ieisycciisni 

tfasted  With  the  otn'er,  and  frequently  (though  not  always)  complete 

in  its  design. 

Of  these,  the  one  which  first  appears  is  called  the  Principal  Theme, 
and  the  other,  or  others,  Subordinate. 

70.  The  structural  principle  underlying  all  Rondo  designs  is  that 
of  Alternation,  —  the  alternation  of  a  Principal  Theme  with  one  or 
molt  OulMMIhate  Themes.  The  extent  of  the  design  depends  upon 
the  number  of  tunes  that  a  digression  from  the  Principal  Theme  occurs. 

In  the  First  Rondo  form  there  is  one  digression  (or,  one  Subordinate 
Theme),  and,  consequently,  one  return  to,  and  recurrence  of,  the  Prin- 
cipal Theme,  —  that  is,  one  complete  alternation  of  the  two  Themes. 

In  the  Second  Rondo  form  there  are  two  digressions  (or,  two  Subor- 
dinate Themes),  and  two  returns. 

In  the  Third  Rondo  form  there  are  three  digressions  and  (usually) 
three  returns. 


94 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  71. 


CHAPTER  VII. 

THE   FIRST   RONDO   FORM. 
71.  The  diagram  of  the  First  Rondo  form  is  as  follows: 


PRINCIPAL  THEME 
Any  Part-form. 


.A"" 


SUBORDINATE  THEME 

Different  key, 

usually  (next)  related. 

(Codetta). 


•a 


PRINCIPAL  THEME 

As  before, 

possibly 

modified. 


CODA 


THE  PRINCIPAL  THEME. 


72.  The  design  of  the  first  Theme,  in  the  First  Rondo  form,  is 
generally  me  3-Part  Song-i'ormj  in  rare  instances  only  One-Part  form 
(Period,    DoubI^>erioa^o^rErase-group)  —  perhaps    extended    by 
complete  or  partial  repetition;  still  more  uncommon  is  the  2-Part  form. 

It  should  be  a  simple,  clear,  but  characteristic  statement,  of  pre- 
ponderantly lyric  (nieloHiousy  character;  not  fragmentary,  but  con- 
ceived as  a  sustained,  tuneful  melodic  idea,  and  not  too  elaborately 
extended.  Comp.  par.  68. 

The  character  of  the  Rondo  Theme  is  optional;  it  may  proceed 
from  any  mood,  from  the  most  sombre  to  the  most  gay,  though  the 
lyric  is  probably  the  most  appropriate. 

The  student  should  not  confound  the  traditional  Rondo  style  (usually  graceful 
and  moderately  animated)  with  the  Rondo  form.  The  latter  designates  a  structural 
design,  which  may  be  applied  to  any  style  of  music. 

See  Beethoven,  pfte.  Sonata,  op.  2,  No.  i,  Adagio  (the  Principal  Theme  is  In- 
cipient 3-Part  form,  1 6  measures). 

Beethoven,  pfte.  Sonata,  op.  31,  No.  i,  Adagio  (Incomplete  3-Part  form,  34 
measures,  Part  I  a  parallel  Double-period). 

Beethoven,  Sonata,  op.  2,  No.  3,  Adagio  (Period,  extended,  u  measures). 

Schubert,  pfte.  Sonata,  No.  6,  op.  147,  Andante  (Complete  3-Part  form,  27 
measures). 

Brahms,  Symphony  No.  3,  Andante  (Group  of  four  Phrases,  quasi  3-Part  form, 
24  measures). 

73.  The  Principal  Theme,  in  the  First  Rondfl  form.juftiiaHy  pndfl- 
with  a  complete  tonic  cadence,  in  its  own  key.     See  Ex.  36,  note  *i). 

"""Oilier   methods   of   treatment,   including   the   process   of   "Dissolution,"    will   be 
shown  later  —  par.  7?c. 


Par.  74. 


THE  FIRST  RONDO  FORM. 


95 


One  Theme  being  thus  definitely  terminated,  conceptive  action 
turns  to  the  following  Theme,  and  the  question  arises:  How  can  a 
good  connection  be  established  between  the  two  Themes?  All  that 
takes  place  at  this  point  is  comprised  under  the  general  head  of  "Tran- 
sition," and  may  assume  very  many  (equally  normal  and  effective) 
forms,  that  admit  of  classification  as  below. 

TRANSITION. 

74.  a.  The  dpfim'tp  rarlpnrp  nf  fhfi.JP.rJP  TTl  (in  case  this  method 
of  termination  is  adopted)  is  somefjrpps  fr>UowQr)  by  .P-q  UMJWd'qt** 

ann(yiroer'pr>f  ^f  tv"*  fiulfflfctg^Li ThfB? —  f^Af   'ls>  without.,  any 
transitional  material,  —  with  an  abrupt  change  of  key. 

bee  Ex.  36,  No.  i. 

jVlso  Beethoven,  Sonata,  op.  2,  No.  2,  Largo,  measure  19  (20). 

The  illustrations  of  the  "struc'tunToTtfie^aYleY  Torms  which  follow  are  limited 
chiefly  to  the  pianoforte  Sonatas  and  other  works  of  Beethoven  ;  partly  because  of 
their  unquestioned  authority,  and  partly  because  the  student  will  find  them  con- 
venient of  access. 

b.  Such  total  absence  of  transitional  material  is,  however,  unusual, 
because  incompatible  with  the  desirable  continuity  and  unity  of  the 
design.  The  least  that  is  likely  to  intervene,  between  the  Themes,  is  a 
transitional  "bridging"  of  the  cadence-measure,  —  possibly  involving 
the  necessary  modulation.  For  illustration  (Ex.  36,  No.  2) : 


Prin.  Theme 


BEETHOVEN,  op.  2,  No.  i. 
end  of  Prin.  Th.  II     Subord.   Th. 

-f- 


96  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  75. 

Transition  Subordinate  Theme 

BEETHOVEN. 


cad. 


*i)  In  both  cases,  this  is  a  complete  tonic  cadence,  in  the  original  key. 

*2)  Sonata,  op.  7,  second  movement.     See  the  original. 

See  also,  Beethoven,  Sonata,  op.  31,  No.  i,  Adagio,  measure  34  (35). 

c.   Tn^  some  rarp  Jnsfcnrai  there  is  still  less  evidence  of  transition; 
the  Prin.  Th.  ending  with  an  elision  01  it 
the  same  moment  the  beginning^oTtneSubordinate  Theme. 

See  Beethoven,  Sonata,  op.  2,  No.  3,  Largo.  The  Prin.  Th.,  an  extended  period, 
ends  in  measure  n;  the  Sub.  Th.  begins  at  the  same  point,  with  change  of  signa- 
ture. The  fact  that  the  cadence-chord,  on  the  accent  of  the  actual  cadence-measure, 
is  at  the  same  time  the  beginning  (first  accent)  of  the  next  Theme,  is  proven  by  the 
abrupt  and  complete  change  of  style,  rhythm,  tempo,  key,  and  dynamics. 

(Other,  more  elaborate,  forms  of  transition  are  shown  in  par.  77.) 


THE  PROCESS  OF  TRANSITION. 

75.  The  primary  object  of  a  transition  is  to  approach  the  key  in 
which  the  following  Theme  is  to  appear.  Its  aim  is,  therefore,  usually 
the  dominant  harmony  of  the  coming  key,  since  that  is  the  legitimate 
and  most  convenient  medium  through  which  a  tonic  may  be  reached. 

The  process  as  a  whole  is  generally  divided  into  two,  sometimes 
very  distinct,  successive  stages  or  moves  (or,  as  they  might  aptly  be 
called,  "acts"): 

The  first  stage,  or  act,  consists  in  leading  the  harmonies  to  the  desired 
_posUwn,  —  as  stated,  usually  to  the  prospective  dominant;  either  the 
dominant  triad,  or  dom  ^th  chord,  With  root  in  bass;  or  the  dominant 
note,  in  bass,  without  reference  to  the  chords  involved. 

The  second  stage,  or  act^  consists  in  establishing  <Apt  datninajitt  fry 


tjpan  (ar  near']  ft  for  a  few  peats  or  measures,  until  the  most 
ft*  effective.  n|oinent  arrives  for  its  resolution  into  the  first 

melodic  member  of  the  new  Theme. 


Par.  75. 


Ex. 
37. 


THE  FIRST  RONDO  FORM. 
No.  i.  Allegro  Transition 


BEETHOVEN,  Sonata,  F.  major,  ~&~ 
op.  14,  No.  i,  meas.  13- 
See  the  original.   »i) 


E  major 


("first  act")  — 


^ 


("second  act")- 


s 


W   V*lV 


Dominant  (of  B) 


sE 


*£ 


r 


r 


j     j 


i 


!? 


"UH/LLLT  r  r  r  r  r  r  rr 


Subordinate  Theme 


*T  rlr  rff^F 


etc. 


r  -*- 


No.  2.  Allegro 


Prin.  Th.,  Part  II 


I    I    i     i*^^^~|  _i    II     II''' 


BEETHOVEN, 

Sonata,  D,  op.  10,  No.  3, 
last  movement,  measure  13— 
See  the  original. 


I     D  major 


98  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  75. 

dissolved  into  Transition 


3 1 ^^ 1 

HF+^H 


Sub.  Th. 


e 


etc. 


Dominant  (of  A) 


*i)  This  is  not  a  First  Rondo  form,  but  that  does  not  affect  the  illustration. 
As  stated  in  par.  69,  all  these  Larger  Forms,  without  exception,  contain  two  Themes 
(at  least),  which  are  presented  one  after  the  other;  and  this  successive  presentation 
takes  place,  in  every  instance,  as  first  and  chief  object  of  the  whole  design.  From 
this  it  follows  that  all  the  Larger  Forms  are  practically  identical  (in  general  structure) 
up  to  the  point  where  this  double  presentation  is  accomplished,  —  as  may  be  seen  by 
comparing  the  given  diagrams.  For  this  reason,  illustrations  of  these  initial  processes 
may  be  chosen  from  any  of  the  Larger  designs,  with  a  view  to  desirability  only. 

*2)  At  this  point,  with  the  insertion  of  the  deflecting  accidental  (though  no 
modulation  takes  place),  the  process  of  "dissolution"  (see  par.  78)  begins  to  operate; 
and  this  also  marks  the  actual  beginning  of  the  "first  act"  of  transition. 

*3)  Here  the  modulatory  movement  culminates  upon  the  chord  of  /-sharp,  whose 
root — /-sharp,  in  bass  —  is  the  dominant  note  of  the  prospective  key  and  Theme. 
And  therewith  the  "second  act"  of  transition  begins,  continuing  solidly  upon  the 
dominant  note  (as  organ-point)  for  five  measures. 

*4)  Here  the  dominant  is  finally  resolved  (no  longer  as  tonic  chord  of  F-sharp 
major,  but  as  dom.-seventh  chord  of  B),  into  the  first  melodic  member  of  the  Subord. 
Theme. 

*5)  This  is  a  very  brief  transitional  passage;  the  "first  act"  begins  (as  dissolution 
of  the  'form,  by  modulatory  deflection)  with  this  beat  — /-natural  in  bass,and  leads 
quickly  to  the  prospective  dominant. 

*6)  The  "second  act"  runs  only  through  this  one  measure,  as  bridging.  See  also, 
Beethoven,  Sonata,  op.  2,  No.  2,  Largo,  measures  (29,  30)  31. 

Sometimes  one  or  the  other  of  the  two  transitional  "acts"  is  not 

only  thus  brief  (Ex.  37,  No.  2),  but   is  omitlcd  altogether,  for  some 

i       •  ii_  """"""'"""""••••• 

obvious  reason  or  other. 


Par.  75- 


No.  i.  Allegro 


THE  FIRST   RONDO  FORM. 
end  of  Prin.  Th. 

r-^r-rr 


99 

II    Transition 


BEETHOVEN, 
Sonata,  A-flat,  op..  26, 
last  movement,  measure  27— 
See  the  original. 


A-flat  maj.     "•"cad. 


in 


*/ 


Subord.  Theme 


I-* &=*3): 


M 


etc. 


1 


:1- 


1        J        ~ f      .    • — I 12 

$±  *  V  ^ 


Dom.  (of  E-flat) 


No.  2.  /^ro  allegretto 


BEETHOVEN, 
Sonata,  op.  7,  E-flat, 
last  movement,  meas.  47- 
See  the  original. 


end  of  Sub.  Th.  *4> 

— 1 — 8- 


ff 


<rlitl.it  major 


100 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  76. 


etc. 


*i)  Complete  tonic  cadence,  at  the  end  of  the  Prin.  Theme,  in  the  original  key. 

*2)  The  "first  act"  of  actual  transition  (modulatory  deflection)  begins  here,  and 
leads  to  the  prospective  dominant,  6-flat,  in  bass. 

*3)  The  "second  act"  would  enter  here,  but  is  omitted,  because  unnecessary,  — 
the  Sub.  Theme  itself  beginning  (and  dwelling)  upon  the  dominant  harmony. 

*4)  This  is  the  reversed  order  of  Themes,  and  the  process  involved  is  called  Re- 
transition  (par.  86).  The  principle,  and  the  process,  are  exactly  the  same  as  in  the 
Transition,  only  excepting  that  it  is  chiefly  in  this  direction  that  the  omission  of  the 
"first  act"  is  possible,  and  necessary  —  because  the  Subord.  Theme  frequently 
occupies  the  original  dominant  throughout.  See  next  *note. 

*5)  The  complete  tonic  cadence,  at  the  end  of  the  Subord.  Theme.  Being  itself 
the  prospective  dominant,  the  "first  act"  is  not  needed.  Therefore  only  the  "second 
act"  is  performed,  in  the  following  two  measures. 

See  also,  Beethoven,  Sonata,  op.  31,  No.  2,  Adagio;  in  measure  38  the  Subord. 
Th.  ends  with  complete  tonic  cadence  in  its  own  key,  F  major.  This  F  being  the 
prospective  dominant  (of  the  next  Theme),  no  "first  act"  is  required;  the  following 
4  measures  represent  the  "second  act"  —  dwelling  upon  the  dominant;  the  Prin. 
Th.  appears  in  measure  43. 

76.  This  fundamental  rule  for  the  construction  of  a  transition  (or 
re-transition)  is,  however,  often  modified. 

a.  The  objective  point  of  the  transition  may  be  some  other  tone 
than  the  prospective  dominant}  foTTHBlBpte?  Hie  Second-dominant 
(ad  scale-step; ;  orTSj^oBETer  tone" or  chord  that  will  lead  powerfully 
into  the  new  Theme  (the  6th  scale-step,  probably  lowered,  —  the  raised 
4th  scale-step,  —  the  leading- tone). 

See  Beethoven,  Sonata,  op.  31,  No.  i,  Adagio,  measures  (34)  35  (36).  The 
C  at  the  end  of  the  Prin.  Theme  is  prolonged  (two  measures) ,  with  change  of  mode, 
and  becomes  the  Mediant  (3rd  scale-step)  of  the  following  key  —  A  -flat  major. 

Also: 


Par.  76.  THE  FIRST  RONDO  FORM.  IOI 

No.  i.  Transition  ("  first  act")  *i) 


Ex. 
39 


BRAHMS, 

Symphony,   No.  3,  F,  op.  90, 
Andante,   measure  34- 
See  the  original. 


Subord.  Theme 


9z=* 


*2)*l 


& 


CtC- 


-r    r- 

No.  2.  Allegro 


% 


Second-dom.  (of  G)      G  major  (dom.) 

Retransition  ("  second  act") 


B  major 


*i)  The  "first  act",  induced  by  dissolution  of  an  extended  Transition-Phrase 
(par.  770),  has  been  going  on  for  some  time;  at  this  point  it  makes  a  decisive  move 
towards  a  minor,  and  soon  reaches  the  tone  A  and  the  chord  of  A  (major). 


IO2 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  76. 


*a)  This  A  is  the  Second-dominant  (dominant-of-the-dominant)  of  the  prospec- 
tive key  —  G  major,  —  and  is  chosen  as  aim  of  the  transition,  because  the  Subord. 
Theme  chances  to  begin  on  the  dominant  harmony  of  G.  The  "second  act"  of  trans- 
ition extends  only  through  the  cadence-measure,  as  bridging,  and  is  signalized  by  the 
g-natural,  which  gives  the  chord  of  A  a  dominant  significance. 

*3)  The  root  of  this  chord,  5-flat  (upon  which  the  "second  act"  of  retransition 
is  based,  for  ten  measures)  is,  as  .4 -sharp,  the  leading-tone  of  the  following  key  and 
Theme. 

b.  At  times,  the  transition  leads  to  the  dominant  of  some  other 
than  the  coming  key,  and  is  then  followed  by  an  unexpected  "false" 
resolution  (on  the  principle  of  Cadence-modulation) : 

Allegro  ^ 


BEETHOVEN, 
Sonata,  op.  28,  D, 
first  movement,  measure  58- 
See  the  original. 


r  • 

TT« 

N» 

Dominant  (of  A)   *i) 


End  of  Transition        Subord.  Th. 


F-sharp  minor    *z) 

*i)  This  dominant  note,  E,  is  reached  several  measures  before  (in  meas.  55)  and 
is  dwelt  upon,  as  "second  act"  of  transition,  up  to  the  Subord.  Theme,  which  sets 
in,  however,  in  an  unexpected  key. 

*z)  The  first  phrase  of  the  Subord.  Theme  ends,  nevertheless,  in  the  proper  key, 
A  major,  thus  ultimately  vindicating  the  transitional  tone  E. 

See  also,  Beethoven,  Sonata,  op.  10,  No.  i,  last  movement,  measure  16, — 
dominant  of  c  minor,  followed  abruptly  by  the  Subord.  Theme  in  E-flat  major  (meas- 
ure 17). 

c.  In  rare  instances,  the  transition  leads  to  the  tonic  itself  of  the 
comrnlfkey  and  Tb^™*;  ^  *\"«  ™"*"  "  *>"^  4lf"1'iy  TOtf "'*  ffnr^es~ 

single  measure,  which  agnimnn  the^M^Bifret  an  introductory  anticipa- 
tion of  the  accompaniment  of  the  new  Theme.    Thus: 


Par.  77. 


THE  FIRST  RONDO  FORM. 


103 


BEETHOVEN, 
Sonata,  op.  2,  No.  2,  A, 
last  movement,  measure  24- 
See  the  original. 


End  of  Transition 


E  as  tonic  (of  E) 


Introductory  measure 


i-i 


I 


II  Subord.  Theme 


etc. 


E  major 


*i)  The  legitimate  aim  of  this  transition,  in  view  of  the  coming  key  (E  major), 
would  have  been  the  tone  and  chord  of  B,  its  dominant.  Instead  of  which,  it  drives 
straight  at  the  coming  tonic,  and  then  enters  it  passively,  without  resolution. 

See  also,  Brahms,  Symphony,  No.  3,  Andante  (Ex.  39,  No.  i),  measures  77-84; 
these  are  the  "second  act"  of  retransition,  dwelling  upon  C,  the  tonic  and  key  of 
the  following  Theme  (which  begins  in  meas.  85).  A  notable  and  masterly  example 
of  a  most  uncommon  and  hazardous  process. 

Beethoven,  Sonata,  op.  22,  Adagio,  measure  18  (end  of  transition  on  5-flat); 
meas.  19  (beginning  of  Subord.  Theme  in  5-flat).  Beethoven,  Sonata,  op.  49,  No.  i, 
second  movement;  meas.  30-32.  Beethoven,  op.  49,  No.  2,  first  movement;  meas. 
20-21. 

This  is,  naturally,  a  somewhat  misleading  and  dubious  method  of 
transition,  as  the  tonic  note  has  no  urging  force  into  "itself." 

77.  Reverting  to  par.  74,  which  review,  there  are  still  other  forms 
of  transitional  material,  as  follows: 

a.  Quite  frequently,  the  complete  tonic  cadence  at  the  end  of  the 
Principal  Theme  is  followed  by  a  phrase  of  more  or  less  independent 


104 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  77. 


character  (new),  which  is  designed  to  serve  the  transitional  purpose. 
If  this  inserted  member  is  a  definite  phrase,  with  cadence,  it  may  be 
called  the  Transition-Phrase.  The  treatment  consists,  naturally  and 
usually,  in  re-stating  the  Transition-phrase,  as  duplication;  this  dupli- 
cation is  then  dissolved  and  led,  as  "  first  act "  of  transition,  to  the  pro- 
spective dominant;  the  latter  generally  prolonged,  as  "second  act", 
and  resolved  into  the  Subord.  Theme. 
For  example: 

end  of  Prin.  Th. 


£ 

i 

-•- 

1 

^^  p                     A  i 

. 

/ 

j£      t     L                                                                                                                                                                                         ^ 

a*       v 

i*    '      v 

^ifli 

^^* 

1 

I(T\      V. 

Ex./ 
42.  \ 

1 

%J         BEETHOVEN,  Sonata, 
op.  10,  No.  i,  first         ^y 
movement,  meas.  28-  "^ 
See  the  original-             ~C" 

T  — 

y? 

f~ 

*~\~*  —  \)~~                                  i  —  5  —  5  — 

-*)*  —  ^  —  ^— 

v    y 

^HT- 

-1  

\ 

b  tj 

1  1     x    y 

*    * 

i_     it. 

Transition-phra 


compl.  ton.  cad. 


Dominant  (of  E-flat) 


Par.  77. 


THE  FIRST  RONDO  FORM. 


105 


Subord.  Theme 


:r2*r 


4-J-J-rJ 


etc. 


f* 


Z=£ 


f=ft 


9 


E-flat  major 


Also,  Beethoven,  Sonata,  op.  28,  first  movement.  The  Transition-phrase  (new) 
appears  in  meas.  40-43;  duplicated  in  sequence,  meas.  44-47;  these  eight  measures 
are  repeated  (modified);  the  "second  act"  covers  meas.  56-62;  Subord.  Th.  in  meas. 
63.  (Shown  in  Ex.  40.) 

Beethoven,  Sonata,  op.  13,  last  movement.  The  Transition-phrase  (new)  ap- 
pears in  meas.  18-21;  followed  by  a  sequence  leading  to  the  Ionic  (meas.  25)  of  the 
Subord.  Theme,  which  follows  immediately.  Also  Sonata,  op.  22,  last  movement, 

—  very  similar  (Transition-phrase,  new,  meas.  18-22). 

Beethoven,  Sonata,  op.  31,  No.  3,  first  movement.  The  Transition-phrase 
(new),  measures  26-32,  is  followed  by  a  curious  prolongation  of  the  transitional 
operation,  consisting  in  the  wholly  unexpected  insertion  of  a  reminiscence  of  the  Prin. 
Theme  (in  meas.  33-45)  leading  to  the  prospective  dominant,  and  followed  by  the 
Subord.  Theme  (meas.  46).  This  insertion  is  the  second  Section  of  the  entire  trans- 
ition. (See  par.  556,  in  reference  to  the  "Section";  and  note  that  sectional  ar- 
rangement may  occur  in  any  portion  of  the  form  which  is  not  subject  to  definite 
structural  conditions:  in  the  Coda,  the  "Development"  [par.  150],  the  Re- transition, 

—  most  rarely  in  the  Transition,  as  here.) 

Beethoven,  Sonata,  op.  2,  No.  2,  last  movement.  The  Transition-phrase 
covers  meas.  17-20;  it  is  duplicated,  dissolved,  and  led  to  the  tonic  of  the  next  Theme, 

—  as  shown  in  Ex.  41.     Beethoven,   Symphony,  No.  2,  Lar ghetto,  meas.  33;    the 
Prin.  Th.  is  a  full  Two-Part  form,  with  repetitions,  otherwise  this  Transition-phrase 
would  be  "Part  II". 

Schubert,  Sonata  No.  6,  op.  147,  Andante.  The  Transition-phrase  enters  ab- 
ruptly, with  an  elision  of  the  cadence-measure  of  the  Prin.  Theme,  in  meas.  27.  Its 
complete  change  of  style  verifies  the  elision,  and  also  gives  it  the  appearance  of  an 
almost  foreign  link;  it  proves,  however,  to  be  directly  related,  thematically,  to  the 
Subord.  Theme,  which  begins  in  meas.  32. 

b.  Often  the  Transition-phrase,  instead  of  being  thus  independent, 
or  new,  in  its  construction,  is  deflltHl  fiuin  maluial  ef  tho  Prin  ThprriP 


ilsftli Ln  this  case  it  is  "independent"  only  in  its  loca 

thematically  relevant,  and  consistent  with  its  surroundings. 


wi 


See  Beethoven,  Sonata,  op.  14,  No.  i,  first  movement;  the  Transition-phrase 
(meas.  13)  is  so  similar  to  the  Prin.  Theme,  that  it  sounds  at  first  as  if  a  duplication 
of  the  latter  were  intended.  (Shown  in  Ex.  37,  No.  i.)  Also  Sonata,  op.  10,  No.  3, 
first  movement,  very  similar  (meas.  17-22). 


io6 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  77. 


Beethoven,  Son.  op.  26,  last  movement;  the  Transition-phrase  is  derived  from  the 
thematic  figure  of  the  Prin.  Theme  (Ex.  38,  No.  i). 

Beethoven,  Son.  op.  27,  No.  i,  last  movement;  Transition-phrase  from  Prin. 
Theme,  meas.  25-32;  "second  act",  meas.  32-35;  Subord.  Theme,  meas.  36. 

Beethoven,  Son.  op.  31,  No.  3,  Scherzo;  Transition-phrase  derived  so  exactly 
from  Part  II  of  the  Prin.  Th.,  that  here  again  the  intention  of  duplicating  the  latter 
is  intimated;  meas.  29-32;  "second  act",  meas.  33-34;  Subord.  Theme,  meas. 
35.  (Shown  in  Ex.  55,  note  *2.) 

Brahms,  Symphony  3,  Andante;  the  Transition-phrase  is,  at  first,  a  re-statement 
of  the  first  member  of  the  Prin.  Theme  (meas.  24-25),  and  is,  therefore,  a  direct 
deduction  from  the  chief  thematic  proposition.  It  is  duplicated,  dissolved,  and  led 
to  the  Second-dominant  of  the  next  Theme,  as  shown  in  Ex.  39. 

c.  Or  the  transitional  process  may  maintain  still  closer  adherence 
to  the  Prin.  Theme  (than  that  of  thematic  derivation),  and  proceed 
directly  out  of  some  phrase  of  the  latter,  by  dissolution  of  the  form.  The 
following  illustrations  will  be  better  understood  by  first  reading  par.  78. 

For  example: 

Allegro     Principal  Theme 


BEETHOVEN, 
Son.,  op. 14,  No.  2, 
first  movement. 


*' 


rTrihj :  See  the  original. 


p 


Part  II 


etc.,  8-measure 
Period  (as  Part 
D,  to: 


Par.  77. 


THE  FIRST  RONDO  FORM. 
"first  act"  of  transition 


lO/ 


*.0, 


I, 

m 

.2) 

^ 

^= 

15. 

* 

£ 

1  6. 

M 

» 

P                                  fr*' 

""^°ii 

i 

-—  •— 

y 

, 

0 

i      f  f  p       pu  —  jin: 

z     • 

:tM 

__i__ 

=£ 

zp=H 

• 

-PH  —  P—  H  —  

-j      i      i      1  —  L^.1.^  

*S)  Dominant  (of  D) 


^        ^Bg^f^Fff^l 


21.    ^L        etc.     22.     23 


22.     23.          • 

.  ,.fff  .  f 

—  r        i    !••   i     • 


Subord.  Th. 


24. 


(comp.  meas.  9)    .. 


etc. 


II 


*i)  This  is  unquestionably  the  Second  Part  of  the  Prin.  Theme,  and  not  to  be 
confounded  with  a  Transition-phrase,  although  it  is  finally  utilized  as  transition,  by 
extension  and  dissolution. 

*2)  The  first  sign  of  weakening  of  the  principal  key,  for  modulatory  deflection, 
is  exhibited  in  this  c-sharp. 

*3)  This  melodic  figure  runs  through  the  entire  transitional  extension. 

*4)  Here  the  transitional  modulation  is  consummated,  leading,  at  note  *5),  to 
the  dominant,  A,  of  the  coming  key  and  Theme  (D  major). 


108  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  77. 

*6)  The  "second  act"  of  transition  is  performed  upon  the  dominant  note,  A, 
maintained  as  organ-point  unyieldingly  in  bass,  for  7  measures. 

See  also,  Beethoven,  Sonata,  op.  31,  No.  2.  Part  II  of  the  Prin.  Theme  begins 
in  measure  21  (with  elision);  it  remains  in  its  key,  d  minor,  up  to  meas.  31,  where  it 
is  deflected  into  a  minor;  therewith,  the  "first  act"  of  transition  begins,  and  extends 
to  meas.  41,  where  it  cadences  on  E,  the  dominant  of  the  coming  Theme;  the  "second 
act"  is  simply  the  bridging  of  this  measure;  the  Subordinate  Theme  appears  in 
meas.  42,  upon  the  same  dominant  harmony  (of  a  minor).  See  also  the  last  move- 
ment of  the  same  Sonata,  similar  in  every  respect. 

Beethoven,  op.  10,  No.  i,  Adagio.  The  Second  Part  of  the  Prin.  Th.  begins  in 
measure  17,  is  dissolved  in  meas.  21,  reaching  the  prospective  dominant  in  meas.  22; 
the  Subord.  Th.  follows  in  meas.  24,  on  the  same  dominant  harmony. 

Beethoven,  op.  31,  No.  2,  Adagio.  Part  II  of  the  Prin.  Th.  begins  in  measure 
18;  is  dissolved,  in  meas.  23,  immediately  into  the  prospective  dominant  (C),  which  is 
prolonged,  as  "second  act",  to  meas.  30;  the  Subord.  Th.  appears  in  meas.  31,  in  F. 

Beethoven,  op.  10,  No.  3,  last  movement;  Part  II  dissolved.     See  Ex.  37,  No.  2. 

Beethoven,  op.  28,  last  movement.  The  transitional  process  starts  in  measure 
17,  with  a  phrase  in  contrasting  rhythm,  which  may  be  regarded  as  Part  II  of  the 
Prin.  Theme,  but  has  somewhat  more  of  the  appearance  of  an  independent  Transition- 
phrase  (par.  770).  It  is  duplicated  and  dissolved  in  the  usual  manner;  the  "second 
act"  covers  measures  26-28;  Subord.  Th.  in  meas.  29. 

Beethoven,  op.  31,  No.  i,  first  movement.  Part  I  of  the  Prin.  Th.  to  measure 
30;  Part  II  to  meas.  45;  Part  III  begins  hi  meas.  46;  is  dissolved  in  meas.  53,  — 
the  prospective  dominant  (/-sharp)  appearing  in  meas.  54;  the  "second  act"  extends 
to  meas.  65;  Subord.  Th.  in  meas.  66. 

Beethoven,  op.  7,  first  movement.  Part.  I  of  the  Prin.  Th.  to  measure  17; 
Part  II  to  meas.  24;  the  next  measure  (25)  is  an  ostensible  return  to  the  beginning  — 
therefore  the  index  of  Part  III;  it  is,  however,  abruptly  deflected  (dissolved)  by  the 
Z?-flat,  and  extended,  as  "first  act"  of  transition  (with  infusion  of  new  material)  to 
measure  35,  where  it  subsides  upon  the  prospective  dominant;  "second  act",  meas- 
ures 35-40;  Subord.  Th.  in  meas.  41. 

Beethoven,  op.  22,  first  movement.  The  Prin.  Th.  is  a  group  of  four  phrases 
(measures  i,  5,  9,  12).  The  fourth  of  these  Phrases,  like  the  first  one,  and  therefore 
suggestive  of  the  intention  of  duplication,  is  utilized  as  transition;  dissolved  in  meas. 
13,  and  led  to  the  prospective  dominant  in  meas.  16;  "second  act,"  meas.  16-21; 
Subord.  Th.  in  meas.  22. 

Brahms,  Symphony,  No.  i,  Andante.  The  Prin.  Th.  is  a  Group  of  six  phrases 
(measures  i,  5,  10,  14,  18,  22),  ending  with  complete  tonic  cadence  in  meas.  27.  A 
Transition-phrase  follows,  which  (as  in  Beethoven,  op.  28,  last  movement)  may  be 
regarded  as  Part  II.  It  is  duplicated,  dissolved,  and  led  to  the  prospective  dominant 
in  meas.  34;  "second  act"  to  meas.  38;  the  Subord.  Th.  begins  in  meas.  39. 

Broad  comparison  of  the  preceding  paragraphs  (and  par.  82)  will  reveal  the  three 
possible  locations  of  the  transitional  movement: 

Par.  746,  and  par.  77**,  —  independent  transitional  material  inserted  between  the 
two  Themes.  Frequent. 


Par.  78. 


THE  FIRST  RONDO  FORM. 


109 


Par.  77^,  —  transition  effected  during  the  later  course  of  the  Prin.  Theme  itself, 
involving  dissolution.  Fairly  frequent. 

Par.  82,  —  transitional  act  performed  during  Ike  early  course  of  the  Subord.  Theme. 
Very  rare. 


DISSOLUTION  OF  THE  FORM. 

78.  A  phraaejssaid  to  be  " dissolved"  wher. 
with  its  expected  cadence,  upon  its  own  tonic,  it  is  deflected  {by  modu- 

with  extensions)   to  some  other  key 
to  a  dominant, 


lation).  and  conducted  (pei 


the  domi- 


nant  of  the  coming  Theme. 

The  process  of  dissolution  is  applied  invariably  to  the  final  phrase 
of  some  member  of  the  form:  To  the  Third  Part  of  a  Three-Part  form 
(which  would  then  be  denned  as  a  "Three-Part  form  with  dissolved 
Third  Part");  or  to  the  Second  Part  of  a  Two-Part  form  (illustrated 
in  Ex.  43) ;  or  to  the  Consequent  phrase  of  a  Period  (single  or  double) ; 
or  to  the  last  phrase  in  a  phrase-group  form.  Illustrations  of  all  these 
species  are  given  in  par.  77. 

79.  Dissolution  of  the  form  occurs,  naturally,  only  in  connection 
with  the  process  of  transition  (or  re-transition  —  par.  86) ;  and  its  real 
^bjeetTolffslsts  solSy^WSHHfeving  the  "first  act"  of  a  transitional 
movement. 

For  this  reason,  dissolution  is  also  very  commonly  applied  to  a 
Transition-phrase  (as  shown  in  Ex.  38,  No.  i),  —  or,  more  frequently 
still,  to  the  duplication  of  such  independent  single  phrases  as  the  Trans- 
ition-phrase, and  the  Codetta  to  a  Theme. 

Such  phrases  as  these,  which  appear  where  the  passage  into  another 
Theme  is  imminent,  are  often  first  stated  in  simple  form,  with  their 
legitimate  cadence,  and  then  duplicated,  with  dissolution.  The  defi- 
nition of  this  would  be  "phrase  with  transitional  (or  dissolved)  duplica- 
tion." One  illustration  will  suffice: 


end  of  Codetta  I 


Ex 
44. 


.1 


BEETHOVEN, 
Sonata,  op.  13,  last 
movement,  measure  50— 
See  the  original. 


!          J 

Codetta  II  »i) 

S~i  1  

f 

-=  —  ^  —  p  —  •  —  n  —  ^- 

B  *            <i 

i      t                 r 

9                • 

I      I      ^^^  t 

P 

8 

»/L  "I    ^* 

m~ 

in\ 

a 

^y 

^r     •  * 

*    9 

cad. 

1 10          THE  LARGER  FORMS  OP  MUSICAL  COMPOSITION.     Par.  79 

__  ||     Duplication    —    — 


dissolved  (  "first  act  "  of  retransition) 


P™.Th. 


etc. 


t=t 


*i)  This  is  the  second  one  of  two  Codettas,  added  to  the  Subordinate  Theme. 
See  par.  88.  It  is  the  material  designed  for  the  retransition  (par.  86),  and  proves 
to  be  a  "phrase  with  dissolved  duplication,"  extended  into  the  usual  "second  act"  on 
the  prospective  dominant. 

*2)  The  dissolution  is  induced  by  the  modulatory  deflection  through  this  6-natural. 

See  also  Ex.  41 :  The  transition,  the  end  of  which  is  shown  in  the  example,  is  a 
phrase  with  dissolved  duplication. 


Par.  80.  THE  FIRST  RONDO  FORM,  III 

80.  In  the  First  Rondo  form,  the  Transition,  as  seen  in  the  diagram, 
leads  from  the  Principal  Theme  into 

THE  SUBORDINATE  THEME. 

81.  It  is  a  fundamental  condition  of  the  Subord.  Theme,  that  it 
should  appear  in  a  different  key^trom  that  of  the  Prin.  Theme.     And 
with  but  very  few  exceptions  this  is  the  case. 

The  exceptions  to  this  rule  are  more  common  in  the  works  of  Beethoven  than  in 
those  of  any  other  writer.  He  not  infrequently  begins  his  Subord.  Theme  in  the  same 
key  (often  the  opposite  mode),  and  then  leads  it  over  into  the  "right"  key  (par.  82). 
See  his  String-quartet,  op.  18,  No.  6,  Adagio,  meas.  17;  and  String-quartet,  op.  74, 
Adagio,  meas.  25.  The  most  unusual  example  occurs  in  his  Polonaise,  op.  89,  a 
Second  Rondo  form,  in  which  both  Subord.  Themes  are  in  the  same  key  as  their  Prin. 
Theme. 

See  also,  Beethoven,  Sonata,  op.  2,  No.  3,  Adagio;  the  Subord.  Th.  is  in  the 
same  key  as  the  Prin.  Theme,  E,  but  in  the  opposite  mode  —  e  minor. 

The  most  common  and  effective  keys  for  the  Subord.  Theme  are, 
the  dominant  key  after  a  major  Prin.  Theme;  or  the  relative  major 
key  aiter  a  mOWf  Frin.  Theme. 


~  uui;  any  other  reEie^Key  —  near  or  remote  —  may  be  chosen; 
and  even  a  wholly  unrelated  keyjs  possible,  if  justified  by  the  nature 
of  the  Themes  and  the  special  structural  purpose. 

Beethoven,  Sonata,  op.  2,  No.  i,  first  movement:  Prin.  Theme  hi  /  minor; 
Sub.  Th.  in  A  -flat  major. 

Same  Sonata,  Adagio;  Prin.  Th.,  F  major;  Subord.  Theme,  first  in  d  minor,  and 
then  C  major. 

Same  Sonata,  last  movement:  Prin.  Th.,  /  minor;  Sub.  Th.,  c  minor  (dominant 
key,  after  a  minor  Prin.  Th.). 

Sonata,  op.  2,  No.  2,  first  movement:  Prin.  Th.,  A  major;  Sub.  Th.,  e  minor 
(instead  of  E  major)  —  later  major. 

Sonata,  op.  7,  Largo:  Prin.  Th.,  C  major;  Sub.  Th.,  A  -flat  major  (tonic-mediant 
relation).  Ex.  36,  No.  2. 

Sonata,  op.  31,  No.  i,  first  movement:  Prin.  Th.,  G  major;  Sub.  Th.,  B  major, 
later  minor  (relative  of  the  dominant). 

Sonata,  op.  31,  No.  3,  Scherzo:  Prin.  Th.,  4-flat  major;  Sub.  Th.,  F  major, 
later  E-flat  major. 

Sonata,  op.  53,  first  movement:  Prin.  Th.,  C  major;  Sub.  Th.,  E  major  (medi- 
ant-tonic relation). 

It  is  least  favorable  to  choose  the  subdominant  key,  as  this  is  dull 
in  effect. 

82.  In  very  rare  cases,  the  Subord.  Theme  begins,  immediately 
after  the  cadence  of  the  Prin.  Th.  (without  transition),  in  the  same  key,  — 


112          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  83. 

that  of  the  Prin.  Th.;   and  then  gradually  swings  over  into  its  proper 
key;   thus,  so  to  speak,  including  the  transition  within  itself. 

See  Beethoven,  Sonata,  op.  7,  last  movement:  The  Prin.  Theme,  an  Incipient 
3-Part  form,  comes  to  a  complete  tonic  ending  in  measure  16.  The  Subord.  Theme 
follows  immediately,  in  the  same  key  (E-flat);  its  first  phrase  is  deflected  (meas.  19) 
into  c  minor,  and  then  into  S-flat  major  —  the  proper  key  (meas.  23).  What  em- 
phasizes this  curious  irregularity  (an  instance  of  almost  oppressively  close  logic),  is 
the  fact  that  this  first  phrase  is  derived,  directly  from  the  Second  Part  of  the  Prin.  Theme 
(meas.  8-9).  Opinions  may  differ  concerning  this  analysis;  but  it  appears  impossible 
to  define  the  actual  beginning  of  the  Subord.  Theme  at  any  later  point,  so  persistent 
is  the  continuity,  —  unless  it  be  in  meas.  25,  where  a  somewhat  striking  rhythmic 
modification,  and  the  proper  key,  asserts  itself.  Almost  exactly  the  same  conditions 
prevail  in  Beethoven,  Andante  favori  in  F  major  (measure  30). 

83.  Besides  the  change  in  key,  there  should  also  be  a  sufficiently 
marked  change  in^tyy^For  the  Subord.  Theme,  while  preserving 
£lU!ie  incTevmentorganic  relations  with  its  Prin.  Th.,  must  nevertheless 
be  well  contrasted  in  general  effect,  —  perhaps  chiefly  with  regard  to 
its  rhythmic  character.    The  two  Themes  should  be  well  mated,  but 
differentiated  in  appearance  and  in  "mood". 

This  is,  naturally,  one  of  the  most  difficult  problems  of  effective  composition,  and 
one  whose  solution  cannot  be  indicated  by  rules.  The  student  should  make  a  careful 
study  of  the  Themes  thus  associated  in  the  Sonatas  and  other  works  of  Beethoven, 
Brahms,  and  other  modern  masters;  and,  for  the  rest,  exercise  his  own  musical 
imagination  and  —  above  all  things  —  his  judgment. 

If  the  Prin.  Th.  is  lyric,  the  Subord.  Theme  may  be  dramatic;  and 
vice  versa.  If  one  is  serious,  the  other  may  be  of  a  somewhat  lighter 
character;  and  so  forth.  The  most  striking  distinction  between  the 
Themes  will  usually  rest  upon  their  rhythms,  —  either  the  rhythmic 
nature  of  the  thematic  melody,  or  of  the  accompaniment,  or  boln1."  ~ — 

«WWMiMaHMiHMHiMHNai«MHMHHMMMIIIIWaHa*MMHBV|MVM'*|MI|H*1' 

84.  The  old  rule  (in  force  during  the  early  classic  eras  of  strict 
thematic  unity)  that  the  Subord.  Theme  should  be  derived  from  the 
Prin.  Theme,  or  at  least  be  thematically  related  to  it,  is  generally  aban- 
doned in  modern  music,  because  of  the  greater  difficulty  of  creating 
the  necessary  contrast. 

'  Its  influence  is  still  traceable  here  and  there  in  Beethoven  (op.  26,  last  movement 
—  Ex.  45,  No.  i;  op.  2,  No.  i,  first  movement  —  the  melodic  member  of  the  Subord. 
Theme  is  the  same  as  that  of  the  Prin.  Theme,  in  contrary  motion;  Symphony,  No.  5, 
c  minor,  first  movement;  also  Sonata,  op.  7,  last  movement  —  cited  in  par.  82;  and, 
very  pointedly,  in  op.  14,  No.  i,  last  movement,  where  the  Subord.  Theme,  beginning 
abruptly,  without  transition,  in  measure  14,  is  derived  directly  from  the  consequent 
phrase  of  the  Prin.  Theme,  from  which  it  differs  chiefly  in  key).  Also  in  Brahms ; 


Par.  84. 


THE  FIRST  RONDO  FORM. 


and  again,  with  some  evidence  of  a  reactionary  spirit,  in  recent  works:  Glazounow, 
pfte.  Sonata,  op.  75,  e  minor,  first  movement  —  Ex.  45,  No.  2;  Vincent  d'Indy, 
String-quartet,  op.  45,  E  major,  first  movement. 

It  is  evident,  however,  that  when  the  Subord.  Theme  is  thus  derived 
from,  or  thematically  related  to,  the  Prin.  Theme,  it  must  nevertheless 
assume  a  sufficiently  independent  aspect;  must  present  the  usual 
contrast  in  style.  It  may  adopt  thematic  material  frqrn  its  Prin. 
Theme,  but  it  must  work  it  over  into  a  new  thematic  condition,  assuring 
its  characteristic  independence.  This,  as  intimated,  may  best  be 
brought  about  by  some  essential  alteration  of  the  rhythmic  conditions. 
For  example: 


No.  i.        Allegro 


Ex. 
45. 


Prin.  Th. 


Subord. 


w 


BEETHOVEN, 
Sonata,  op.  26, 
last  movement.  P 
See  the  original.^ 


fffiffrf 


etc. 


See 
Ex.; 

No. 


Theme 


etc. 


No.  2.    Moderate      Prin.  Theme 


\^~                                      """^i 

s~- 

I  ' 

fc 

j 

E 

J                           p 

P 

*  • 

J 

GLAZOUNOW( 

ZST                      » 

U 

Sonata,  E,  op.  75,                 I          -^- 
first  movement.                  *             |       - 
See  the  original. 

^_ 

15 

1 

n 

• 

E 

•i 

W                                                  j 

c 

M 

Iv     ^ 

•     >j 

J 

114          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  85. 

Subord.  Th.  " -^ 


3-    Andante  sost.     Prin.  Th. 


,     • 

j 

f(\\    TT    53 

•       *       r 

• 

I     t 

VOJ              ^ 

« 

2 

BRAHMS,                 "5"       |          f       "^ 
Symphony,  No.  i,  |  p      strings        | 
u.           ad  movement. 

\ 

HiBM 

-J        etc. 

rx'ijfliiO      c      ., 

I 

5?     5  #.4.  " 

• 

•i 

tf  "*f 

• 

P 

f 

Subord.  Th.  *3). 

a 

- 

-• 

L 

__• 

J 

A#    tin                   &-• 

Oboe 

• 

Uffutftt 

m    m 

i    < 

XL  5  tt 

9 

• 

1    *  ^   • 

\—L 

-C  

*          ^      ^?/« 

^—  +i-tt  fl  "i        i  "i        i  1  —  -  — 

Hi 

*m 

"1           !           i            M 

etc. 

rl'ffj*ffTt  j,    -i 

1  i  _i     j  *•  •!    • 

M 

i-  — 

^j      >• 

• 

»  - 

^  —  T"H 

-^     Jf  ff  ifn  H    i 

J    H  «       «    H  2 

a 

jfW 

•  « 

i 

^ 

S   : 

i       i    1 

3    2      2    2 

^ 

!        ill 

ti'S 

r^jp-^r^f:     • 

* 

1 

fr! 

J^    ^ 

^   *   ^ 

*i)  The  thematic  figure  of  the  Prin.  Theme,  in  contrary  motion,  and  transferred 
to  the  lower  part,  as  accompaniment,  is  the  basis  of  the  Subord.  Theme;  but  the 
distinctive  line  of  the  latter  is,  nevertheless,  the  sharp  staccato  figure  In  the  upper 
part,  which  creates  a  marked  contrast  in  style  with  the  foregoing. 

*a)  The  melody  of  the  Subord.  Th.  is  patterned  exactly  after  that  of  the  Prin. 
Theme.  The  necessary  contrast  is  amply  provided  by  the  complete  change  of 
"mood"  (dolce),  and  the  change  of  rhythm,  both  in  the  melody  and  in  the  lower  part 
(triplets). 

*3)  The  wholly  new  melody  of  the  Subord.  Theme  is  a  counterpoint  to  that  of  the 

Prin.  Theme,  which  appears,  below,  as  shown  by  the .  The  change  of  mood  is 

very  marked. 

85.  The  form  of  the  Subord.  Theme  is  optional,  but  it  is  somewhat 
likely  to  be  a  shorter,  more  concise,  design  than  that  of  the  Prin,  Theme. 
IfTSTESrMmS^SRiBSPyno^^etnS a On£=Part "form  (Period.  Phrase- 
group,  or  Double-period).  And,  as  will  be  shown,  a  Codetta  is  often 

added  (par.  88). 


Par.  85.  THE  FIRST  RONDO  FORM.  1 1 5 

At  least  one  of  the  two  Themes  should  be  more  than  One-Part  form,  or  the  whole 
rondo  will  represent  a  total  of  but  three  Parts,  and  therefore  will  create  the  impression 
of  3-Part  form  only. 

N.B. — Every  composition  in  which  there  is  a  "return  to  the  begin- 
ning" (after  an  actual  departure)  is  an  example  of  the  tripartite  design. 
But  there  are  many  such  tripartite  forms,  which  differ  from  each  other 
in  size  or  extent,  and,  though  fundamentally  similar,  become  indepen- 
dent of  each  other  through  their  several  degrees  of  dimension,  of  scope, 
and  of  purpose.  Not  that  dimension  alone  differentiates  musical  de- 
signs; for  there  are  quite  genuine  First  Rondo  forms  that  are  very 
short,  while  others  are  unusually  long.  But  dimension,  in  connection 
with  frequency  of  cadence  and  changes  of  thematic  contents,  does  con- 
tribute in  some  degree  to  the  definition  of  the  form,  since  all  these 
elements  together  are  involved  in  the  presentation  of  the  adopted  purpose. 

Compare  Schumann,  Sonata,  op.  22,  Andantino.  This  is  only  a  3-Part  Song- 
form;  but  the  2nd  Part  (meas.  22-38)  is  of  so  different  a  style,  in  its  later  course,  as  to 
assume  the  importance  and  effect  of  a  Theme.  And  Chopin,  Nocturne,  No.  4,  op. 
15-1;  also  3-Part  form  only,  but  decidedly  suggestive  of  First  Rondo  form,  because 
of  the  radically  independent  style  of  its  2nd  Part.  Beethoven,  Violin  Sonata,  op.  96, 
Adagio.  The  Prin.  Th.  is  an  extended  Period,  only.  What  follows  is  practically  a 
Second  Part,  —  one  phrase,  with  extended  duplication;  and  a  rather  long  retrans- 
ition  which  illustrates  the  effective  swaying  back  and  forth  around  the  prospective 
dominant;  then  the  Prin.  Th.  and  Coda.  The  design  is,  probably,  only  3-Part 
Song-form,  but  with  decided  "Rondo"  effect. 

Mendelssohn,  op.  16,  No.  3;  the  Prin.  Th.  is  a  period,  with  introductory  phrase; 
it  is  dissolved  into  a  brief  transition,  followed  by  a  Subord.  Th.  in  phrase-group  form, 
with  a  Codetta,  from  which  a  fairly  lengthy  retransition  leads  to  the  Prin.  Theme, 
extended  to  phrase-group  form  and  followed  by  a  brief  Coda.  It  is  only  3-Part 
Song-form,  but  has  the  breadth  of  the  Rondo. 

Schubert,  Sonata,  No.  5,  op.  143,  Andante;  —  a  very  concise  First  Rondo  form, 
in  which  the  Subord.  Theme  (meas.  21-30)  is  but  little  more  than  an  Interlude  be- 
tween the  Prin.  Theme  (in  2-Part  form)  and  its  da  capo  (partly  transposed).  But 
it  is  sufficiently  characteristic  to  represent  a  "digression." 

Beethoren,  Sonata,  op.  79,  Andante;  —  a  genuine,  though  small,  First  Rondo 
form.  The  Prin.  Th.  is  in  diminutive  2-Part  form;  the  Subord.  Th.  a  4-meas.  Period, 
extended  to  7  measures,  with  a  Codetta,  duplicated  and  dissolved  (as  shown  in  Ex.  48). 


THE  RE-TRANSITION. 

86.  The  term  Re-traQsjiian.i*-applied  by  the  aillllUl  IU  the  passage 
back  into'*I^^evSousgriaiJEbai^JjL^liatipctMffl  to  the  Transitioa_ 

ic  process  is  practically  the  same  in  both  cases, 


n6 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  87. 


though  a  difference  in  treatment  may  assert  itself,  in  consequence  of 
the  difference  in  location  and  aim. 


and  more  el  aboratejjianjjje  Transition,  and  not  infrequently  separates 
liiRo  two  oF  more  sections.  IiIustratioS^Bave  already  been  given,  in 
Ex.  38,  No.  2;  Ex.  39,  No.  2;  and  Ex.  44;  which  see. 

87.  The  Retransition,  like  the  Transition,  may  be  initiated  in  a 
number  of  ways: 

a.  The  Subord.  Theme  may  close  with  a  complete  tonic  cadence 
(that  is,  without  dissolution  of  the  form),  usually  in  its  own  key,  — 
more  rarely  in  some  other  key,  though  quite  as  completely.    In  this 
case,  the  Retransition  will  have  its  independent  beginning,  and  will 
include  its  "two  acts"  within  itself. 

Assai  allegro  end  of  Sub.  Th.    Retransition-phrase 


Ex. 
46. < 


BEETHOVEN, 
Sonata,  op.  14,  No.  2, 
last  movement. 
See  the  original. 


duplication 


-• 0- 


cad. 


extension  ("  first  act")  "  second  act" 


Prin.  Theme 


.«••-[ 


5$=t=$E 

^^ff-y— ^-t 


etc. 


Dominant  (of  G)  G  major 

*i)  A  complete  tonic  cadence  in  the  key  of  the  Subord.  Theme,  C  major. 
*2)  The  Retransition-phrase  is  derived  from  the  chief  member  of  the  Prin.  Theme. 
Avoid  the  blunder  of  jumping  at  the  conclusion  that  this  is  the  Prin.  Theme,  be- 


Par.  87. 


THE  FIRST  RONDO  FORM. 


117 


cause  it  chances  to  resemble  it.     It  is  not  in  the  right  key,  nor  is  it  the  entire  Theme. 
See  par.  123. 

See  also:  Beethoven,  Sonata,  op.  7,  last  movement,  —  the  second  ending  after 
the  last  double-bar  (with  repetition  marks). 

Beethoven,  Rondo,  op.  51,  No.  i,  C  major.  The  Subord.  Th.  (a  Second  Subord. 
—  par.  104)  is  in  c  minor;  it  ends  with  complete  tonic  cadence  in  that  key,  therefore 
already  on  the  original  tonic.  For  that  reason,  the  retransition  is  long,  including 
three  sections,  in  order  to  get  away  from,  and  return  to,  the  key  of  C.  The  first 
Section  is  a  one- voice  passage  (meas.  72-75);  Sec.  2  is  derived  from  the  Prin.  Th.,  in 
a  remote  key,  leading  to  the  prospective  dominant  (meas.  76-83);  Sec.  3  is  the 
"second  act"  of  retransition  (meas.  83-91). 

Sonata,  op.  10,  No.  3,  last  movement.  The  Subord.  Theme  (a  Second  Subord- 
inate), is  in  B-flat  major;  it  makes  its  cadence,  however,  on  the  tonic  of  E-flat  major, 
in  meas.  41;  the  retransition  starts  immediately,  and  contains  three  brief  sections: 
Section  i  (meas.  41-45),  new,  but  so  closely  related  that  it  might  be  regarded  as  the 
final  phrase  of  the  Subord.  Theme;  Sec.  2  (meas.  46-49)  derived  from  the  Prin. 
Theme  —  in  a  remote  key,  but  dissolved  and  led  to  the  prospective  dominant  (chord 
of  A ,  in  D  ma jor) ;  this  is  the  " first  act "  of  actual  retransition;  Sec.  3  (meas.  50-55) 
is  the  "second  act,"  and  is  a  quaint  demonstration  of  the  principle  of  dwelling  upon, 
or  near,  the  dominant;  Prin.  Theme  in  meas.  56.  —  Sonata,  op.  22,  last  movement. 
Subord.  Th.  (Second)  in  /  minor;  complete  tonic  cadence  in  6-flat  minor  (meas. 
103);  followed  by  the  two  distinct  acts  of  retransition. 

b.  If,  as  is  likely,  the  Subord.  Theme  is  in  the  dominant  key,  its 
complete  tonic  cadence  will  itself  be  the  prospective  dominant,  and, 
consequently,  no  "first  act"  of  transition  will  be  necessary,  —  only  the 
"second  act." 


end  of  Sub.  Th.  ||  Retransition     ("  second  act") 


BEETHOVEN, 

Sonata,  op.  26, 

last  movement. 

__  See  Ex.  45,  No.  i, 

i^{  and  the  original.   I 


cad. 


Dominant  (of  A-flat) 


etc. 


THE  LARGER   FORMS  OF  MUSICAL  COMPOSITION.     Par.  88. 

*i)  Complete  tonic  cadence  in  the  key  of  the  Subord.  Theme  (E-flat).  This 
chord  is  already  the  prospective  dominant,  wherefore  no  "first  act"  of  transition  ap- 
pears. In  such  cases,  the  "second  act"  prolongs  and  estabh'shes  the  dominant,  as 
usual,  but  its  function  is  centred  upon  the  addition  of  the  minor  flh,  which  transforms 
the  chord  (as  tonic  of  the  former  key)  into  an  actual  dominant  (dom.-7/A  chord)  of 
the  coming  key. 

*2)  This  d-flat  is  the  7th  in  question,  and  records  the  decisive  operation  of  the 
retransitional  act. 

See  Ex.  38,  No.  2.  The  transforming  dominant-7th  (.4-flat)  first  appears  with 
the  first  note  of  the  Prin.  Theme. 

See  also,  Beethoven,  Sonata,  op.  28,  last  movement;  the  retransition  begins  in 
meas.  43  (as  "second  act"  only);  in  meas.  47,  the  dominant-7th  (g-natural)  is  in- 
troduced, securing  the  identity  of  the  bass  tone  A  as  dominant,  —  no  longer  tonic. 

Similar,  Sonata,  op.  10,  No.  3,  last  movement,  measures  23-24. 

Also,  Sonata,  op.  2,  No.  i,  Adagio,  measure  31  only. 

88.  As  stated  above,  it  is  quite  common_to  add  a  Codetta,  or  even 
more  than  one,  to  the  Subordinate  Theme.  This  may  consist  of  any 
-theiililllt!  Material,  Wholly"  riew',""or"more  or  less  directly  related  to  or 
derived  from  the  foregoing.  But  it  is  perhaps  most  common  and 
effective  to  borrow  it  from  motives  of  the  Prin.  Theme  (as  in  Beethoven, 
op.  2,  No.  i, 


The  Codetta  is  generally  a  comparatively  brief  phrase,  of  two  or 
four  measures,  and  is,  as  a  very  general  rule,  duplicated.  (If  there  are 
two  Codettas,  the  first  one  is  likely  to  be  longer,  four  or  eight  measures, 
duplicated  as  usual.) 

The  duplication  may  have  the  complete  tonic  cadence,  and  be 
followed  by  the  independent  retransition.  But  it  is  more  natural 
(if  necessary  —  see  par.  876)  to  dissolve  this  duplication,  thus  trans- 
forming it  into  the  "  first  act' '  of  retransition.  See  Ex.  44,  —  applied  to 
the  second  Codetta. 

If  the  Subord.  Theme,  and  therefore  its  Codetta,  is  in  the  dominant 
key,  then,  as  shown  in  par.  876,  the  retransition  will  be  limited  to  its 
"second  act"  alone. 


end  of  Subord.  Theme  Codetta 

J 

IBEETHOVEN, 

"Rondo,  op.  51,  No.  i 
See  the  original. 


cad. 


Par.  89. 


THE  FIRST  RONDO  FORM. 
duplication 


Retransition  ( "second  act") 


*=s 


-• 0- 


-• 0 • • 


Dominant  (of  C) 


etc. 


*i)  This  F-natural  initiates  the  actual  transitional  movement,  by  changing  the 
tonic,  G,  into  a  dominant  (of  C). 

See  also:  Beethoven,  Sonata,  op.  2,  No.  i,  Adagio,  meas.  27-31;  the  retrans- 
ition  is  merely  bridging,  in  meas.  31,  with  insertion  of  the  dominant-yth,  B-flat. 


89.  When,  on  the  other  hand,  the  Subord.nThegie._do^  not  close 
with  a  complete  toajf ^ffl^f"^  IbcJLJn.  its  own^  or  some  other,  "Icey77 
*Tr*is*Decaiise  the  principle  of  "dissolution"  has TbeenacHWTMf 
method  is  less  clear,  because  aenmte  cadences  are  of  great  assistance 
to  the  hearer,  who  profits  by  distinct  structural  outlines,  —  but  it  may 
be  quite  as  effective,  and  is,  of  course,  more  artistic,  as  it  establishes 
more  complete  continuity.  (Compare  par.  197,  No.  i.)  The  final 
phrase  of  the  Subord.  Theme,  in  this  case,  is  dissolved,  and  this  disso- 
lution (or  modulatory  deflection)  constitutes,  as  usual,  the  "first  act" 
of  retransition,  leading  to  the  prospective  dominant  (or  whatever  may 
be  chosen  as  leading  factor),  whose  prolongation  covers  the  "second 
act." 

See  Ex.  39,  No.  2;  and  the  following: 


120          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  89. 

Subord.  Th.  Phrase  1(4  measures) 

:3:  t 


BEETHOVEN, 
Sonata,  op.  7,  Largo. 
See  Ex.  36,  No.  2  ; 
and  the  original. 


etc.  to 


^       A 

Phrase  2  (4  measures) 


ifi 


a 


!"* 


*    ~  * 


^2    3    2 
^F= 


B 


£    * 


Phrase  3 


^M^^P 


fe 


K=3 
•-:  3H 


v 


bs:^ 

etc.  to         pp 


rr^ 


W 


-=r 


=tJ«=4 
Ep?_-? 

TT 


•         •         •        • 


bv        v        ^- 

!/• 
dissolved  ("  first  act "  of  retransition  ) 


3^=teM±==; 

exg          nn          iLi  ••     — • 


Par.  89. 


Section  2 


THE  FIRST  RONDO  FORM.  121 

Section  3 


etc. 


5 


*i)  The  Subord.  Th.  is  a  Group  of  (3)  phrases,  the  third  —  and  last  —  one  of 
which  (patterned  after  the  first  one)  is  dissolved,  as  shown,  and  thus  led  to  a  cadence 
upon  G,  the  dominant  of  the  coming  Theme. 

*2)  The  retransition  is  unusually  elaborate,  and  separates  into  three  sufficiently 
distinct  sections.  This  would  not  appear  to  have  been  necessary;  but  the  creative 
imagination  of  the  tone-master  dictated  it;  and  it  serves  to  illustrate  and  confirm 
the  countless  ways  in  which  a  fundamental  principle  may  be  carried  out.  Section  i 
sways  around  the  dominant,  G,  and  then  slips  away  from  it  —  to  return,  soon. 

*3)  Section  2  is  an  allusion  (only)  to  the  principal  melodic  member,  in  a  remote 
key,  and  fragmentary.  This  insertion,  very  characteristic  of  Beethoven,  must  not  be 
hastily  called  the  "  Principal  Theme."  Section  3  returns  to  the  dominant,  and  pro- 
longs it,  quite  steadily,  up  to  the  announcement  of  the  Prin.  Theme.  See  par.  123. 

A  similar  long  retransition,  —  similar  also  in  its  sectional  arrangement,  occurs 
in  Beethoven,  Rondo,  op.  51,  No.  i,  cited  in  the  notes  to  Ex.  46. 


122          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.     Par.  90. 

Also,  Beethoven,  Sonata,  op.  13,  last  movement:  The  Subord.  Theme  (Second) 
is  in  3-Part  Song-form,  of  which  the  Third  Part  is  dissolved  (in  meas.  104),  leading 
to  the  prospective  dominant  (G)  in  meas.  107;  from  there  to  meas.  .120  this  dominant 
is  persistently  maintained,  as  "second  act"  of  retransition. 

Sonata,  op.  2,  No.  2,  Largo;  the  Subord.  Theme  is  a  Group  of  (3)  phrases,  the 
last  one  of  which  (meas.  27)  is  dissolved,  and  led  to  the  prospective  dominant  in 
meas.  31;  the  Prin.  Th.  appears  in  the  following  measure,  —  the  retransition  being 
unusually  brief. 

90.  The  "second  act"  of  transition  and  retransition  —  the  main- 
taining or  establishing  of  the  dominant  —  is  often  somewhat  charac- 
teristic in  style;  but  it  should  not  be  so  striking  in  contents  as  to  invite 
the  impression  of  a  Theme.  Usually  it  is  but  little  more  than  the 
harmonic  figuration  of  the  chord  or  chords  in  question,  so  simple  as  not 
to  disturb  the  effect  of  merely  dwelling  upon,  or  circling  about,  the 
dominant  (or  whatever  the  leading  factor  may  be). 

The  retransition,  especially,  is  quite  likely  to  contain  more  or  less 
direct  allusions  to  the  initial  melodic  member  of  the  coming  (Principal) 
Theme,  —  naturally  not  in  the  same  key. 

See  Ex.  46;  Ex.  47;  and  all  the  retransitions  in  Beethoven,  Sonata,  op.  22,  last 
movement. 

Also  Ex.  49,  section  2  of  the  retransition. 


In  retransitions,  it  ^^^swise^toavdd.  any  conspicuous  presentations 
of  trie  toWf  BBBSnyof1  the  coming  keyTlTelaUCTmayDe  touched,  in 
'passing,  il  the  transitional  movement  sways  back  and  forth  around 
the  dominant;  especially  when  the  opposite  mode  of  the  tonic  chord 
is  used;  or  when  the  latter  appears  as  6-4  chord.  ^'Uilihfi  " 


element  should  not  be  so  prominent  :  as  Jbojyiticipate  and  weaken  the 
"  of  the  Prin.  Theme). 


THE  RECURRENCE  OF  THE  PRINCIPAL  THEME. 

91.  In  the  First  Rondo  form,  the  recurrence  of  the  Principal  Theme 
(or  the  "da  capo,"  as  it  is  often  called)  mayjbe  an  exact  reproduction 
of  its  first  presentation  —  a  literal  copy. 

Mozart,  Sonata,  No.  14  (Schirmer  edition),  Adagio. 
Beethoven,  Sonata,  op.  2,  No.  3,  Adagio. 

But  this  is  rare.  It  is  far  more  likely  to  be  somewhat  embellished, 
or  even  considerably  variated  and  elaborated. 

Beethoven,  Sonata,  op.  2,  No.  2,  Largo;  Sonata,  op.  2,  No.  i,  Adagio;  Sonata, 
op.  7,  Largo.  Brahms,  Symphony,  No.  i,  Andante  sostenuto. 


Par.  ga.  THE  FIRST  RONDO  FORM.  123 

92.  a.  The  Prin.  Th.,  upon  its  recurrence,  may,  and  often  does, 
c^ose  witha  complete  tonic  cadence  in  its  own  key,  in  which  case  the 
Coda 7or7 If  briei,  'Liie* l^m,^' I  Which,  follows , will  be  "independent." 

Beethoven,  Sonata,  op.  2,  No.  i,  Adagio,  measure  47. 

b.  But,  perhaps  quite  as  commonly,  the  final  phrase  of  the  Prin. 
"T^L  \°>  r!1't?'i"1"H|  nr  its  cadence  evaded,  so  as  tP  l£a^  over  wirtinnt  |^- 
terruption  into  the  r*nHa  T«  tVik  case,  the  dissolved  portion  of  the 
Prin.  Th.  becomes  the  first  section  of  the  Coda. 

Beethoven,  Sonata,  op.  2,  No.  3,  Adagio,  measure  30  from  the  end;  an  evasion 
of  the  expected  cadence.  Sonata,  op.  7,  Largo,  meas.  17  from  the  end;  an  elision  of 
the  cadence.  Beethoven,  Violin  Sonata,  op.  12,  No.  2,  Andante,  meas.  30  from  the 
end;  the  form  is  dissolved  by  expanding  the  dominant  chord,  at  the  cadence.  Schubert, 
Sonata,  No.  6,  Andante,  meas.  16  from  the  end;  the  Third  Part  of  the  Prin.  Th.  is 
dissolved,  as  first  section  of  the  Coda.  Mendelssohn,  "Midsummer  Night's  Dream," 
Notturno,  meas.  40  from  the  end;  a  beautiful  example  of  dissolution,  or  merging  in 
the  Coda;  for  this  purpose,  the  Prin.  Th.  (as  da  capo)  is  reduced  to  its  First  Part, 
the  last  two  measures  of  which  are  spun  out,  extended  by  the  introduction  of  a  phrase 
from  the  Subord.  Theme  and  further  allusions  to  the  first  phrase  of  the  Prin.  Theme 
—  ah*  closely  coherent,  and  developed  into  a  group-form  of  singular  charm  and  effec- 
tiveness, as  first  section  of  the  Coda.  A  second  section  follows  (last  18  measures). 


THE  CODA. 

93.  The  Coda  here  has  the  same  design  and  treatment  as  in  the 
variation  form  and  elsewhere.  That  is,  it  is  invariably  sectional  in 
form;  the  number  of  sections,  the  extent,  and  the"  Hull  Hill  LL  uf  imihy  •• 

"arc  wholly  optional,  and  subject  only  to  the  obvious  necessity  of  good 

.TlV^^gpgy^lJiai BMHMMM  .J.  G 

proportion;  of  interesting  and  effective  structure,  especially  in  regard  to 
contrasts;  and  of  sufficiently  close  relation  to  the  motives  and  moods 
that  have.gone  before.  Review,  carefully,  par.  550,  and,  particularly,  b. 
One  or  another  of  the  sections  is  fairly  certain  to  allude  directly 
to  materM<Q^]]jJg]£|^JQu^e;  and  in  some  Codas  there  is  a  disposition 
to  revert  to  the  Subord.  Theme.  Occasionally,  a  section,  if  not  too 
lengthy,  may  present  wholly  new  (though  strictly  affiliated)  material. 

Beethoven,  Sonata,  op.  2,  No.  i,  Adagio.  The  Coda  (last  14  measures)  contains 
two  sections:  Section  i  (5  measures)  is  derived  from  the  second  phrase  of  the  Subord. 
Theme;  Section  2  (to  the  end),  from  the  Codetta  of  the  Subord.  Theme. 

Sonata,  op.  2,  No.  2,  Largo.  The  Coda  (last  30  measures)  contains  four  sec- 
tions: Section  i  (8  measures)  is  derived  from  the  Second  Part  of  the  Prin.  Theme,  — 
a  phrase,  duplicated;  Section  2  (10  measures)  is  derived,  after  an  evaded  cadence, 
with  elision,  from  the  Prin.  Theme;  Section  3  (8  measures),  is  a  fairly  accurate  re- 


124          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.    Par.  94, 

statement  of  the  first  phrase  of  the  Prin.  Theme,  and  a  new  Consequent  phrase; 
Section  4  (to  the  end),  a  Codetta,  with  the  customary  repetition  and  extension. 

Sonata,  op.  2,  No.  3,  Adagio.  The  Coda  (last  30  measures)  contains  four  sections: 
Section  i  (two  measures)  is  derived,  after  an  evaded  cadence,  and  elision,  from  the 
Prin.  Theme;  Section  2  (12  measures),  from  both  Parts  of  the  Subord.  Theme; 
Section  3  (n  measures)  is  a  nearly  complete  re-statement  of  the  Prin.  Theme;  Section 
4  (to  the  end),  a  Codetta,  alluding  to  the  Prin.  Theme. 

Sonata,  op.  7,  Largo.  The  Coda  contains  four  sections  (last  17  measures): 
Section  i  (5  measures)  is  derived,  after  an  elision,  from  the  Subord.  Theme;  Section 
2  (6  measures),  from  the  second  measure  of  the  Prin.  Theme;  Section  3  (2  measures), 
is  entirely  new,  but  related;  Section  4  (to  the  end),  a  re-statement  of  the  first  phrase 
of  the  Prin.  Th.,  with  characteristic  chromatic  harmonization. 

Sonata,  op.  31,  No.  i,  Adagio.  The  Coda  (last  21  measures)  contains  two  sec- 
tions: Section  i  (10  measures  —  a  5-measure  phrase,  duplicated)  follows  the  com- 
plete tonic  cadence,  and  is  closely  related  to  traits  of  the  Prin.  Theme;  Section  2  (to 
the  end)  is  a  Codetta,  based  upon  the  first  two  measures  of  the  Prin.  Theme,  with 
unusually  persistent  reiterations  and  extensions. 

Brahms,  Symphony,  No.  i,  Andante  sostenuto.  The  Coda  (last  28  measures) 
contains  two  sections:  Section  i  (14  measures)  follows  an  elision  of  the  cadence,  and 
is  an  extended  statement  of  the  fifth  phrase  of  the  Prin.  Theme;  Section  2  (to  the 
end)  is  new,  but  closely  related,  —  a  6-measure  phrase,  duplicated. 

94.  In  rare  cases,  the  Coda  has  but  one  section  —  as  Codetta: 
Beethoven,  Sonata,  op.  79,  Andante,  last  5  measures. 

Or,  still  more  rarely,  the  Coda  is  entirely  omitted,  —  as  will  be  seen, 
in  later  forms. 


RELATION  OF  THE  FIRST  RONDO  FORM  TO  THE  SONG-FORM 
WITH  TRIO. 

95.  The  observant  student  will  have  perceived  that  the  First  Rondo 
form  has  the  same  fundamental  design  as  the  Song-form  with  (one) 
Trio,  or  the  "Minuet-form,"  —  the  Trio  being  the  equivalent  of  the 
Subordinate  Theme.  • 

In  fact,  the  First  Rondo  form  bears  about  the  same  relation  to  the 
Minuet,  as  does  the  scholastic  Chaconne  or  Passacaglia  to  the  primitive 
dances  of  those  names  (par.  24);  and  may  be  denned  as  an  artistic 
or  refined  version  of  the  dances  that  are  cast  in  the  mould  of  the  Song- 
form  with  Trio.  The  chief  distinction  is.  that  while  the  Song  with 
Trio  (in  keepinfl  yfrh  fo  1^fgifff>g--m"alc^-d"T^yci  MlflPle" 'Fart-forms, 
clearly  separated  by  frequent  and  decisive  cadences,  the  First  Rondo" 
form  is  one  continuous  whole.  *"  "11"  '  ••• 


Par.  96.  THE  FIRST  RONDO  FORM.  12$ 

96.  The  gradual  progressive  idealization  of  the  Song-form  with 
Trio  passes,  naturally,  through  many  intermediate  grades;  some  more 
closely  approaching  the  one  or  other  extreme,  and  some  which  defy 
exact  qualification. 

The  traits  which  contribute  to  the  widening  distinction  between 
the  typical  Song-form  with  Trio  (Beethoven,  Sonata,  op.  2,  No.  i, 
Menuetto)  and  the  genuine  First  Rondo  form  (the  same  Sonata,  Adagio), 
may  be  classified  as  follows: 

1.  The  insertion  (in  the  Song  with  Trio)  of  a  retransitional  passage, 
from  the  Trio  mSoJES^SKTcS^r1*" 

Beethoven,  Sonata,  op.  7,  third  movement,  last  two  measures  of  the  M inore  (or 
Trio). 

2.  The  addition  of  a  Coda,  to  the  SongjgdthJDao. 

Beethoven,  Sonata,  op.  14,  No.  i,  second  movement;    the  end  of  the  Maggiore 
(or  Trio)  is  dissolved  into  a  retransition,  and  a  Coda  follows  the  da  capo. 
Sonata,  op.  2,  No.  3,  Scherzo,  the  same,  in  both  particulars. 

3.  The  modification  or  variation  of  the  da  capo,  which,  consequently, 
is  written  out,  instead  oi  beiag^nere^rfflclicateQ  by  tjie  tetters  D.  C.f  or 
tfieir  equivalent. 

Beethoven,  Sonata,  op.  10,  No.  2,  second  movement.  A  retransition  follows  the 
Trio  (indicated  only  by  the  change  of  signature),  and  leads  into  the  da  capo,  which  is 
a  recurrence  of  the  Prin.  Song,  modified  by  syncopation. 

Sonata,  op.  27,  No.  i,  Molto  allegro,  similar.    Also,  Sonata,  op.  28,  Andante. 

4.  The  character  of  tJip  digrps^afc^£iTlfl^^)r'>^tf«ll>t-it>Jipy     The 
Song-form  (dance)  and  its  Trio  are  separate  sentences,  whose  associa- 
tion is  apparently  accidental  and  external;    the  Subord.  Th.  of  the 
rondo,  on  the  other  hand,  should  blend  intimately  with  its  Prin.  Theme, 
as  an  outwardly  contrasting  aspect  of  the  same  mood.     Further,  the 
key  of  the  Trio  is  often  the  same  as  that  of  its  principal  dance,  sometimes 
with  change  of  mode.    But  in  the  genuine  Rondo,  the  Subord.  Th.  is 
always  in  a  different  key;  or  if  (as  in  Beethoven,  op.  2,  No.  3,  Adagio) 
the  Subord.  Th.  begins  in  the  same  key,  or  its  opposite  mode,  it  soon 
passes  over  into,  and  asserts,  its  proper  key. 

Beethoven,  Sonata,  op.  28,  Andante  —  a  vexing  hybrid,  which  eludes  strict 
classification.  It  is  clearly  Song-form  with  Trio  up  to  the  da  capo,  and  then  quite 
as  clearly  First  Rondo  form  to  the  end,  with  its  variated  da  capo,  and  its  significant 
Coda.  It  suggests  a  possible  and  not  unnatural  change  of  Beethoven's  attitude 
during  the  composition,  —  as  if  his  interest  in  his  Themes  increased,  and  induced 
him  to  refine  the  structure  more  and  more  as  he  proceeded. 

Chopin,  Mazurka,  No.  26  —  probably  Rondo  form,  though  a  "dance "-species. 


1 26  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.    Par.  96. 

Chopin,  Nocturne,  op.  9,  No.  i  —  probably  Rondo  form,  though  its  cadences  are 
all  very  definite.  Also  Nocturne,  op.  9,  No.  3  —  probably  Song  with  Trio.  Also 
Nocturne,  op.  27,  No.  i  — probably  Rondo  form. 

Beethoven,  Violin  Sonata,  op.  30,  No.  3,  Tempo  di  menuetlo;  probably  Song  with 
Trio  (both  in  same  key  and  mode);  the  Trio  and  da  capo  are  repeated,  with  abbre- 
viation, and  Coda. 

Beethoven,  String-quartet,  op.  18,  No.  2,  Adagio  (decidedly  Song  with  Trio  in 
effect). 

Brahms,  Symphony,  No.  3,  third  movement. 


The  student  is  urged  to  make  thorough  and  thoughtful  analysis 
of  all  the  following  examples  of  the  First  Rondo  form,  as  nothing  is 
more  illuminating  than  to  follow,  observantly,  the  workings  of  a  master- 
mind. Some  of  them  have  been  repeatedly  cited,  above,  for  the  illus- 
tration of  some  details;  but  they  should  now  be  scrutinized  as  a  whole: 

Beethoven,  Sonata,  op.  2,  No.  i,  Adagio.  —  Sonata,  op.  2,  No.  2,  Largo.  —  Op. 
2,  No.  3,  Adagio.  —  Op.  7,  Largo.  —  Op.  31,  No.  i,  Adagio  (very  broad).  —  Op.  79, 
Andante  (very  concise). 

Beethoven,  Bagatelles,  op.  33,  No.  i;  irregular;  the  Subord.  Th.  is  in  the  same 
key  (opposite  mode),  and  brief.  —  Op.  33,  No.  3;  irregular;  "Subord.  Th."  only  an 
Interlude.  —  Op.  33,  No.  5;  like  No.  i.  —  Op.  33,  No.  6;  brief  Subord.  Theme,  de- 
rived from  the  Prin.  Theme. 

Beethoven,  Violin  Sonatas:  Op.  12,  No.  2,  Andante.  —  Op.  12,  No.  3,  Adagio.  — 
Op.  30,  No.  2,  Adagio.  —  Op.  96,  Adagio  (very  concise  —  probably  only  3-Part 
Song-form). 

Beethoven,  String-quartet,  op.  18,  No.  6,  Adagio;  the  Subord.  Theme  begins  in 
the  same  key,  opposite  mode.  —  Beethoven,  Trio,  op.  u,  Adagio;  (Coda,  a  frank 
reminiscence  of  the  Subord.  Theme). 

Schubert,  pfte.  Sonata,  No.  6,  op.  147,  Andante.  —  Sonata,  No.  9,  A,  Andantino; 
the  Subord.  Theme  is  represented  by  an  episode  of  fantastic  character,  in  sectional 
form.  —  Sonata,  No.  10,  5-flat,  Andante;  broad.  —  Sonata,  No.  5,  op.  143,  Andante; 
concise;  da  capo  partly  transposed.  —  Impromptu,  op.  90,  No.  3;  very  broad,  many_ 
repetitions;  Subord.  Th.,  Two-Part  form;  (The  preceding  Impromptu,  op.  90, 
No.  2,  is  a  First  Rondo  form,  suggestive  of  the  Song  with  Trio.) 

Schumann,  Symphony,  No.  i,  5-flat,  Larghetto;  Prin.  Th.,  Three-Part  form, 
Part  III  transposed;  da  capo  abbreviated  to  Part  I. 

Mendelssohn,  Notturno  from  "Midsummer  Night's  Dream."  —  Pfte.  Concerto  in 
g  minor,  Andante.  —  Op.  43,  Andante  ("Serenade").  —  Violoncello  Sonata,  op.  45, 
Andante  (very  elaborate  Coda,  suggestive,  only,  of  a  second  digression).  —  Pfte.  Trio, 
op.  49,  Andante  (Subord.  Theme  begins  in  same  key,  opposite  mode).  —  Pfte.  Trio, 
op.  66,  Andante  (similar). 


Par.  96.  THE  FIRST  RONDO  FORM.  1 2/ 

Chopin,  Nocturne,  op.  32,  No.  2  (possibly  Song  with  Trio).  —  Nocturne,  op.  48, 
No.  i  (probably  Song  with  Trio;  Subord.  Theme  in  same  key,  opposite  mode). — • 
Nocturne,  op.  48,  No.  2,  similar.  —  Nocturne,  op.  55,  No.  i.  —  Nocturne,  op.  55, 
No.  2;  the  design  irregular  in  dimensions,  but  rendered  recognizable  by  the  cadences; 
Prin.  Theme,  3-Part  period,  to  meas.  12;  Subord.  Theme.  Two-Part  Song-form,  22 
measures  long;  retransition,  one  measure;  da  capo  abbreviated  to  four  measures; 
long  Coda,  four  sections,  the  first  and  second  derived  from  the  Subord.  Theme.  — 
Nocturnes,  op.  62,  No.  i;  op.  62,  No.  2;  op.  72,  No.  i  (No.  19).  —  Pfte.  Sonata,  op. 
4,  Larghetto;  Subord.  Th.  begins  in  same  key.  —  Sonata,  b  minor,  op.  58,  Largo.  — 
Barcarolle,  op.  60;  very  broad;  Section  i  of  the  Coda  an  almost  literal  recurrence  of 
Part  Two  of  the  Subord.  Theme. 

Brahms,  Intermezzo,  op.  118,  No.  2  (possibly  Song  with  Trio).  —  Ballade,  op. 
118,  No.  3  (similar).  —  Intermezzo,  op.  116,  No.  6  (similar).  —  Intermezzo,  op.  10, 
No.  3  (similar).  —  Serenade,  op.  16,  Adagio  non  troppo.  —  Pfte.  quartet,  No.  i,  op. 
25,  Andante  (elaborate  "sectional"  transition  and  retransition).  —  Horn-trio,  op.  40, 
Adagio  meslo  (concise).  —  String-quartet,  op.  51,  No.  i,  Romanze  (Subord.  Theme 
begins  in  the  opposite  mode  of  the  principal  key).  —  String-quartet,  op.  51,  No.  2, 
Andante  modsrato  (Parts  I  and  II  of  the  da  capo  transposed).  —  Pfte.  quartet,  No.  3, 
op.  60,  Andante.  —  String-quartet,  No.  3,  op.  67,  Andante  (in  the  da  capo,  the  Prin. 
Theme  is  partly  transposed).  —  Symphony,  No.  i,  op.  68,  Andante  (Part  I  of  the 
Prin.  Theme  extended,  in  the  da  capo).  —  Pfte.  Concerto,  op.  83,  Andante  (elaborate 
retransition,  four  sections,  one  entirely  new).  —  Symphony,  No.  3,  op.  90,  Andante. 

—  Violoncello  Sonata,  No.  2,  op.  99,  Adagio.  —  Violin  Sonata,  No.  i,  op.  78,  Adagio. 

—  Violin  Sonata,  No.  3,  op.  108,  poco  presto;   broad,  but   regular;    Prin.  Theme, 
2-Part  form,  duplicated;    no  transition;    Subord.  Theme,  2-Part  form,  duplicated; 
retransition,  22  measures;  Coda,  three  sections. 

Maurice  Ravel,  Sonatine  in  /-sharp  minor,  second  movement.  Prin.  Theme, 
3-Part  torm  (Par^linKuSpo&eTHHW* abbreviated  —  meas.  23-26);  Subord.  Th., 
measure  27,  begins  in  same  key;  Part  II  extended,  as  retransition. 

Glazounow,  Sonata,  No.  i,  op.  74,  second  movement  (Part  II  of  the  Prin.  Th. 

EXERCISE  7. 

It  is  of  the  utmost  importance  that  the  student  should  fully  master  the  First 
Rondo  form,  because  this  design  presents  the  fundamental  conditions  of  all  the  larger 
forms,  namely:  The  conception  of  different  (related,  but  contrasting)  Themes; 
their  effective  connection,  through  a  suitable  transition,  and  retransition;  and  the 
Coda.  Until  the  ready  solution  of  these  problems  becomes  almost  automatic,  the 
composer  cannot  cope  with  the  still  larger  designs,  with  any  hope  of  success.  There- 
fore, persistent  and  exhaustive  practice  in  this  Exercise  is  earnestly  recommended. 
See,  first,  par.  197,  i  to  6. 

A.  Construct  a  First  Rondo  form  in  major;  Prin.  Theme,  a  3-Part  Song-form, 
possibly  Incomplete,  or  Incipient  grade,  preferably  in  slow  tempo;  brief  transition,  as 
"bridging";  Subord.  Theme  in  the  Dominant  key,  2-Part  Song-form,  with  complete 
tonic  cadence;  retransition,  "second  act"  only;  recurrence  of  Prin.  Theme  (da 
capo)  nearly  literal;  independent  Coda,  brief  (quasi  Codetta). 


128 


THE  LARGER   FORMS  OF  MUSICAL  COMPOSITION.     Par.  97. 


N.B.  —  For  this  exercise,  any  instrument,  or  ensemble,  may  be  chosen.  But 
the  student  is  advised  to  limit  himself  to  the  pianoforte,  or  pfte.  and  violin  (or  'cello), 
and  to  avoid  any  elaborate  ensemble  whose  difficulties  will  divert  his  attention  from 
the  structural  conditions  he  is  aiming  to  master. 

B.  Rondo  in  minor;   Prin.  Theme,  a  2-Part  Song-form,  complete  tonic  cadence; 
transition-phrase,   dissolved  and  led   to  prospective   dominant;    Subord.   Theme, 
Double-period,  complete  tonic  cadence;   retransition,  both  acts;   da  capo  somewhat 
modified;  Coda,  one  or  two  sections. 

C.  Rondo  in  major;  Prin.  Theme,  a  2-Part  Song-form,  the  last  phrase  dissolved, 
as  "first  act"  of  transition,  followed  by  brief  "second  act";  Subord.  Theme,  a  Phrase- 
group,  the  last  phrase  dissolved,  followed  by  a  longer  "second  act";  da  capo  elabo- 
rated; Coda,  two  or  more  sections. 

D.  Rondo  in  minor;  Prin.  Theme,  optional  form,  complete  tonic  cadence;  Subord. 
Theme  beginning  in  same  key  and  modulating  soon  to  the  proper  key;    Codetta, 
duplicated  and  dissolved,  as  retransition;   da  capo  elaborated,  the  last  phrase  dis- 
solved, as  first  section  of  the  Coda. 

E.  Rondo,  all  details  of  structure  optional.  —  And  many  more  examples,  simi- 
larly optional. 


CHAPTER  VIII. 

THE  SECOND  RONDO  FORM. 

97.   See  par.  70.    The  diagram  of  the  Second  Rondo  form  is  as 
follows: 


Prin.  Th. 

/.  Sub.  Th.  j 

Pmi.  Th. 

//.  Stib.  Th. 

Prin.  Th. 

Any  Part- 

c 

Related 

_c 

as  before, 

c 

usually  a 

c 
_o 

as  at  first, 

form. 

_o 

key.           j  3 

'i/J 

possibly 

.0 

more  re- 

'en 

or  modi- 

•a 

f-B 

§ 

abbre- 

'c 

mote  key. 

C 

fied,    or 

H 

fo 

J 

viated. 

H 

<u 

merged 
in     the 

I 

V^jjj 

Coda. 

Coda 


THE  PRINCIPAL  THEME. 

98.  In  the  Second  Rondo  form,  the  Prin.  Theme  may  hp 
Two-  or  Three-Part  form;  perhaps  more  effectively  the  former,  because 
of  the  greater  length  of  the  composition,  and  the  consequent  desirability 
of  more  concise  thematic  members. 


Par.  99.  THE  SECOND  RONDO  FORM.  129 

THE  FIRST  TRANSITION. 

99.  a.  As  before,  the  Prin.  Theme  may  close  with  its  complete 
tonic  cadence,  in  which  case  the  transition  will  be  "independent." 
Review  par.  73,  and  par.  740  and  b.  It  then  generally  assumes  the 
nature  of  a  Transition-phrase,  dissolved,  or  duplicated  and  dissolved, 
leading  to  the  prospective  dominant  (or  whatever  the  basis  of  the 
"second  act"  may  be).  Review  par.  770,  and  b. 

b.  Or  the  final  phrase  of  the  Prin.  Theme  may  be  dissolved,  as 
"first  act"  of  transition.     Review  par.  fjc. 

c.  Or,  much  more  rarely,  the  Subord.  Theme  may  follow  the  tonic 
cadence  of  the  Prin.  Theme  immediately,  in  the  same  key,  and  include 
its  transition  into  the  proper  key,  within  itself.     Review  par.  82. 

THE  FIRST  SUBORDINATE  THEME. 

100.  In  a  structural  design  which  is  to  contain  two  Subord.  Themes, 
it  is  evident  that  each  of  the  two  should  not  only  form  an  effective 
contrast  to  their  Prin.  Theme,  but  that  they  should  also  differ  strikingly 
jronl  MM  olker'.^ 

The  proper  attitude  will  be  gained  by  conceiving  the  First  Subord. 
Theme  as  a  comparatively  moderate  or  narrow  digression,  and  the 
Second  Subord.  Theme  as  a  more  positive,  wider  and  longer  digression 
from  the  Prin.  Theme. 

Therefore,  the  First  Subord.  Theme  is  usually  placed  in  a  nearly 
related  key  (the  dominant  from  major,  or  the  relative  from  minor),  and  is 
likely  to  be  concise  in  form,  —  generally  only  one  Part  (period  or 
phrase-group).  But,  as  usual,  a  Codetta  may  be  added  (par.  88). 

^ftft?™"  gQp^^-»a-^-^^^*^i"  i:  Prin.  Theme  (C),  an  Incipient  3-Part 
form;  the  I.  Subord.  Theme  (G),  a  period,  slightly  extended,  with  a  2-measure  Co- 
detta.—  Sonata,  op.  io,Np.  3,  last  movement:  Prin.  Theme  (D),  a  2-Part  form, 
dissolved;  the  1.  Subord.  l Kerne  (.4),  a  regular  period,  dissolved,  but  not  extended. 
Sonata,  op.  14,  No.  2,  last  movement:  Prin.  Theme  (G),  an  Incomplete  3-Part  form; 
T7T5Tn!!oTOTrTTTT?TnTHoT*!TFlmWJr}5*ffEl''^P  °f  four  phrases. 

On  the  other  hand:  Mozart,  a-minor  Rondo:  Prin.  Th.  (a  minor),  a  complete 
3-Part  form;  I.  Subord.  Theme  (F  major),  a  complete  3-Part  form,  with  Codetta  to 
both  the  First  Part  and  the  Third  Part. 

THE  FIRST  RETRANSITION. 

101.  This  follows  exactly  the  same  course  as  in  the  First  Rondo 
form,  excepting  that  it  is  not  likely  to  be  lengthy.  Review  par.  86,  87a 
and  b,  89. 


1  30  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  102. 

THE  FIRST  RECURRENCE  (OR  DA  CAPO)  OF  THE  PRIN.  THEME. 

102.  The  first  da  capo  may  be  a  complete  re-statement  of  the  Prin. 
Theme;   but  it  is  very  common. 
it  to  its  first  Part,  or  its  equivalent. 


pnndoin  C,  op.  51,  No.  i:  Prin.  Theme,  3-Part  form;  first  da  capo, 
its  first  Part  only  (&  mSsures).  —  Sonata,  op.  10,  No.  3,  last  movement:  Prin. 
Theme,  2-Part  form;  the  first  da  capo,  u^SfSfVSffTUffy^fKh  evaded  cadence.  — 
On  the  other  hand:  Beethoven,  Sonata,  op.  u..  No.  2^  last  movement;  the  first  da 
capo  is  a  complete  and  literal  re-statement  of  the  Prin.  Theme. 

THE  SECOND  TRANSITION. 

103.  TJhr  pnriTiflr  from  tht  Prin  Thtmt  iiitn  thn  go~yid  ^"^r^L 
Theme  is  frequently  oniittejL^Itogfitb^^thelatter  beginning  ab- 
ruptly, m  its  own  key. 

"TSnrtJlW  '  tl  alls'  I  [Tonal  "bridging"  intervenes,  within  the  cadence- 
measure. 

And,  of  course,  an  independent  transition  is  possible;  or  one  ^hat 
is  induced  by  dissolution,  from  the  end  of  the  first  da  capo. 

C,  niL_lL-Jl2L.^  second  transition.  —  Sonata,  op.  10. 


No.  3,  last  movement  :  The  da  capo  closes  in  meas.  33  with  an  evasion  of  the  expected 
cadence;  two  measures  of  transitional  material  follow,  based  on  the  coming  tonic 
(not  on  the  usual  dominant);  II.  Subord.  Theme  in  meas.  35.  —  Sonaja..  on.  IA. 
No.  2,  last  movement:  The  da  capo  ends  in  meas.  64  with  complete  tonic  cadence; 
a  Transition-phrase  follows,  derived  directly  from  Part  Two  of  the  Prin.  Theme  — 
duplicated  and  extended  to  meas.  72. 

THE  SECOND  SUBORDINATE  THEME. 

104.   KQf_the  second  of  the  two  digressions,  or  Subord.  Themes, 
it  is  common  (though  by  "no  '  'mean's  imperative)  to  choose  both  a  more 
jj,  Jarger  fonQi—  amL  also  to  institute  a  more  complete 


and  striking  change  in  style.     The  signature  frequently  changes  here. 

^^^y^l^mMMMVmMilHHMMMVMlMMMMWMBM^. 

Beethoven.  Rondo  in  C,  op.  51,  No.  i:  II.  Subordinate  Theme,  in  c  minor  and 
E-flat  major,  compTeTe^nPartiorm.  —  Sonata,  op.  14,  No.  2,  last  movement:  Prin. 
Theme  in  G;  I.  Subord.  Theme  in  e  and  a  minor;  11.  Subord.  Theme  in  C  (the  sub- 
dominant  key,  —  a  fairly  common  choice),  complete  3-Part  form,  with  repetitions 
and  extensions.  —  ^fj^jf^jg^j^Jj^j^j&^j^mKnt:  Prin.  Th.  in  D;  II.  Subord. 
Theme,  in  5-flat  and  £-flat,  an  extended  phrase,  only. 

THE  SECOND  ^TRANSITION. 

105.   As  the  Second  Subordinate  Theme  is  usually  a  more  striking 

digression,  both  in  key  and  in  length,  it  follows  that  the  second  retrans- 
ition  may  require  to  be  more  extended  and  elaborate  than  the  first. 


Par.  106.  THE  SECOND  RONDO  FORM.  131 

It  may  be  independent,  —  following  the  complete  cadence  of  the 
Subord.  Theme;  in  which  case  it  will  comprise  both  of  the  transitional 
"acts,"  and  may  even  be  sectional  in  form. 

Or  it  may  emerge,  by  dissolution,  out  of  the  final  phrase  of  the 
Subord.  Theme. 

(the  second  retransition  of  which  is  analyzed 


in  dellaU  in  the  notes  to  Ex.  46).  —  Sonata,  op.  10,  No.  3,  last  movement,  —  also 
analyzed  in  the  notes  to  Ex.  46.  —  Sonata,  op.  14,  No.  2,  last  movement  (shown  in 
Ex.  46,  which  see).  —  Sonata,  op.  $$>  WU.  2,  last  movement:  Prin.  Th.  in  G  major; 
Second  Subord.  Theme  in  C  major  (the  subdominant  —  at  the  change  in  signature)  ; 
it  is  a  concise  double-period,  the  fourth  phrase  of  which  is  dissolved,  becoming  the 
"first  act,"  and  followed  by  three  measures  of  "second  act." 


THE  SECOND  RECURRENCE  (OR  DA  CAPO)  OF  THE  PRIN.  THEME. 


106.    The  final  da  capo,  in  the  SprnnH  T?™^  form,  ,'g 
complete  re-statement  of  the  Prin.  Theme,  but  mav.  of  course,  be  ab- 
breviated- and  is  not  irfrpfl"""*1r  ^;™~u"w4  •*"*•  ^ 


Review  paragraphs  91  and  92. 

No.  i:  the  final  statement  of  the  Prin.  Theme  (meas- 


ure 92)  is  complete  up  to  the^rrf  measure  of  its  Third  Part  (measure  105);  this  first 
measure  is  halted,  and  followed  by  swift  modulations  intone  minor  and  Z)-flat  major, 
to  measure  109;  these  five  measures  constitute,  therefore,  the  first  Section  of  the 
Coda.  —  jkmata,  op.  10,  No.  3,  last  movement:  In  this  Rondo,  the  Principal  Theme 
undergoes  a  curious  ira.HslbTmation  at  each  recurrence;  at  first  (as  seen)  it  is  a 
Two-Part  form,  dissolved;  as  first  da  capo  it  is  abbreviated  to  its  First  Part,  with 
evaded  cadence;  upon  its  final  recurrence  it  is  enlarged  to  a  complete  Three-Part 
form,  by  an  effective  extension  of  the  former  Second  Part;  it  has  a  complete  tonic 
cadence  (in  meas.  22  from  the  end),  —  followed  by  an  independent  Coda.  —  fonata. 
op.  14,  No.  2,  last  movement:  the  final  da  capo  is  a  complete,  and  literal,  re-state- 
inen^oiin'eTfrn.  Theme. 


THE  CODA. 

107.  This  is  subject  to  precisely  the  same  conditions  as  in  the 
First  Rondo  form.     Review,  thoroughly,  par.  93. 

Beethoven,  Rondo,  op.  51,  No.  i:  The  first  Section  of  the  Coda  (as  already  seen) 
emerges  from  the  dissolution  of  the  Third  Part  of  the  Prin.  Theme;  Section  2  (sug- 
gestive of  the  first  two  measures  of  the  II.  Subord.  Theme)  is  six  measures  long; 
Section  3  (new),  five  measures;  Section  4  (from  the  Prin.  Theme),  eleven  measures; 
Section  5  (from  the  Prin.  Theme),  four  measures,  to  the  end.  —  Sr>natf1i  "C__12]_ 
No.  3,  last  movement:  The  final  da  capo  closes,  with  a  complete  tonic  cadence,  in 
me^uiv  UJ  flUUl  LllC  Bull,  the  first  Section  of  the  Coda  (derived  from  the  Prin.  Theme) 


132  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  108. 

is  seven  measures  long  —  to  the  /T\  *;  Section  2  (Prin.  Theme),  two  measures;  Sec- 
tion 3  (new,  but  derived  rhythmically  from  the  first  measure  of  the  Prin.  Theme), 
five  measures;  Section  4  (combination  of  Prin.  Theme  and  I.  Subord.  Theme), 
seven*  measures,  to  the  end.  —  Sonata,  op.  14,  No.  2,  last  movement:  The  final 
da  capo  doses,  with  complete  tonic  cadence,  in  meas.  100;  tne  first  Section  of  the  Coda 
(derived  directly  from  the  Second  Part  of  the  Prin.  Theme)  is  14  measures  long; 
Section  2  (from  the  Prin.  Theme),  fifteen  measures;  Section  3  (new,  but  related), 
twenty-four  measures;  Section  4,  a  nearly  exact  duplication  of  Section  3;  Section  5 
(from  the  Prin.  Theme),  seventeen  measures,  to  the  end. 


RELATION  OF  THE.  SECOND  RONDO  FORM  TO  THE  SONG-FORM 
WITH  Two  TRIOS. 

108.  This  relation  is  the  same  as  that  of  the  First  Rondo  form  to 
the  Song-form  with  One  Trio,  though  less  apparent  and  much  less  fre- 
quent. Review  par.  95,  and  96. 

Schubert,  Sonata,  No.  7,  op.  164,  Allegretto  quasi  Andantino.  (The  first  da  capo 
is  transposed,  from  E  major  to  F  major.  Glance  at  par.  167.) 

Beethoven,  Sonata,  op.  27,  No.  i,  first  movement,  —  probably  Rondo;  I.  Subord. 
Theme  in  same  key. 


109.    Tlif  CJPrnnH  Pnr)dft  form,  like  tliP  Fi'rgf)  j^qnmtfljfflflt  very  COn- 

cise,  the  Themes  being  limited  to  a  One-Part  form.     In  this  case,  the 

approaHfea  tbe  ^'lyft-j^ait  MHQ  f"' '"  (^"    Homophonic  Forms, 

par.  io6e),  but  falls  within  the  flyjpain  (tf  fhpgg  T^rgpr  forms,  in  chfllz. 

acter,  when  the  Parts  are  so  distinctly  individualized  as  to  create  the 

impression  of  legitimate  Themes. Review  par.  68,  and  par.  »g,  small 

type. 

Beethoven,  Sonata,  op.  13,  Adagio:  apparently  a  Five-Part  Song-form,  since 
each  "Theme"  is  in  small  (One-Part)  form;  the  Prin.  Theme,  a  repeated  period,  16 
measures;  I.  Subord.  Theme,  a  7-measure  phrase,  eked  out  with  a  Codetta  (duplicated 
and  dissolved,  as  retransition) ;  Prin.  Theme,  one  statement  of  the  period;  II.  Subord. 
Theme  an  8-measure  period,  followed  by  a  retransition,  which  may  be  regarded  as  a 
Second  Part,  dissolved;  Prin.  Theme  as  at  first,  followed  by  a  Codetta,  duplicated 
and  extended,  to  the  end. 

*  N.B. — Since  there  is  no  elision  in  the  cadence-measure  —  22  from  the  end — the  student  must 
beware  of  counting  this  measure  twice.  The  "  first  measure  "  of  the  Coda  is,  therefore,  measure  21 
from  the  end.  This  same,  somewhat  confusing,  condition  prevails  in  many  places,  and  demands 
strict  discrimination  on  the  student's  part.  The  tones  which  thus  often  fill  out  the  cadence-measure 
constitute  that  species  of  "  bridging  "  known  as  preliminary  tones  of  the  actual  phrase  —  not  its  "  first 
measure."  See  Homophonic  Forms,  par.  za,  small  type  ;  and  Ex.  66,  with  its  context. 


Par.  109. 


THE  SECOND  RONDO  FORM. 


133 


Beethoven,  Violin  Sonata,  op.  30,  No.  i,  Adagio;  broader  than  the  preceding 
example,  and  obviously  Rondo  form  —  possibly  First  Rondo,  with  Prin.  Theme  as 
3-Part  form  (abbreviated  to  One-Part  in  the  da  capo),  and  a  fairly  long  Coda. 

Mozart,  Sonata,  c  minor  (Schirmer  ed.,  No.  18),  Adagio. 

The  following  list  of  examples  of  the  Second  Rondo  form  should  also 
be  most  diligently  studied: 

Prin.  Theme  *i) 


Ex. 
SO. 


tt- 

-  BEETHOVEN, 
String-quartet, 
op.  74,  Adagio. 
See  the  original. 


-    ___ 


5d? 


C±r 


£: 


•    p-.-j-E-f     irz:Hbil*B    ^ 

^  T^^bw^r^^7 
^^&  ^F^^ 


/ 


*r 


I.  Subord.  Theme  *j) 


r" 


a     a  '  a     ^  ~^ 


>^T 


* 


etc.  to 


Tonic  cad.  *2) 
Retransition 


etc.to 


Yr^^^r 

m 


;pr   izp: 


134          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  109. 

Prin.  Theme   *4)— ^ 


Sa. 


etc.  to 


49    ^"Mr 


II.  Subord.  Theme  «;) 


f\f 


* 


£3£ 


4* 


TO 


P 


FLJJV. 


etc.  to 


F          *    *    f:    ^ 

V 

1              | 

p 

• 

s 

*•-  ^    -J 


etc.  to 


]?• 


eoll'S 


Par.  109. 


THE  SECOND  RONDO  FORM. 
.  Prin.  Theme 


135 


*i)  The  Prin.  Theme  (meas.  1-23)  is  a  Two-Part  form,  with  Codetta,  and  com- 
plete tonic  cadence. 

*2)  There  is  no  transition  —  only  this  "bridging." 

*3)  The  I.  Subord.  Theme  begins  in  the  same  key  (opposite  mode);  it  is  a  Two- 
Part  form  (meas.  24-34;  35-48),  with  a  cadence-extension,  quasi  Codetta,  leading  to 
the  prospective  dominant;  the  "second  act"  of  retransition  (meas.  52-61)  is  given 
in  the  above  example. 

*4)  The  Prin.  Theme  recurs  in  exactly  the  same  "form"  as  before,  but  con- 
siderably ornamented,  as  shown. 

*5)  Again,  no  transition.  The  II.  Subord.  Theme  (meas.  85-100)  is  a  period, 
duplicated. 

*6)  It  makes  its  full  cadence,  exceptionally,  on  the  original  tonic. 

*i)  For  this  reason,  the  second  retransition  must  perform  the  task  of  leaving,  and 
returning  to,  this  tonic.  It  begins,  as  seen,  with  a  direct  allusion  to  the  Prin.  Theme 
(in  minor),  and  persists  in  an  ingenious  presentation  of  the  initial  figure  (c-d-c-b) 
throughout  the  "first  act,"  until  it  reaches  the  dominant,  as  shown  in  the  example, 
one  measure  before  the  reappearance  of  the  Prin.  Theme. 


136          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  109. 

*8)  The  second  recurrence  of  the  Prin.  Theme,  like  the  first,  is  unchanged  in 
form,  but  again  modified  in  treatment;  its  cadence  is  evaded  by  substituting  (or  re- 
taining) the  dominant  chord  —  thus  merging  in  the  first  section  of  the  Coda. 

*Q)  The  Coda  (meas.  137-167)  contains  four  brief  sections,  dealing  with  the 
I.  Subord.  Theme,  the  Codetta  of  the  Prin.  Theme,  the  first  motive  of  the  Prin. 
Theme,  and  an  extended  cadence.  See  further: 

Beethoven,  Rondo,  op.  51,  No.  i  (cited  above,  but  to  be  analyzed  here  as  a 
whole).  —  Sonata,  op.  10,  No.  3,  last  movement  (ditto).  —  Sonata,  op.  14,  No.  2, 
last  movement.  —  Sonata,  op.  49,  No.  2,  last  movement.  —  Sonata,  op.  79,  last  move- 
ment (concise,  small  Themes).  —  Sonata,  op.  53,  last  movement  (very  broad,  unus- 
ually long  Coda).  —  Polonaise,  op.  89  (all  three  Themes  in  the  key  of  C  —  major 
and  minor).  —  Andante  favori  in  F  major  (the  I.  Subord.  Theme  begins  in  the  prin- 
cipal key,  with  material  from  the  Prin.  Theme).  —  Trio,  op.  i,  No.  i,  Adagio. — 
Trio,  op.  9,  No.  2,  Andante  quasi  Allegretto.  — ^String-quartet,  op.  74,  Adagio  (Ex.  50). 

Mozart,  Rondo  in  a  minor  (large  Themes).  —  Don  Giovanni,  No.  24  (Elvira, 
"Mi  trad!  quell'alma  ingrata"). 

Carl  Maria  v.  Weber,  Sonata,  No.  i,  op.  24,  last  movement  (Perpeluum  mobile'). 

Schubert,  pfte.  Sonata,  No.  2,  op.  53,  last  movement  (II.  Subord.  Theme  a  Song- 
form  with  Trio).  —  Fantasia,  op.  78,  last  movement. 

Josef  Suk,  pfte.  Suita,  op.  21,  last  movement. 

Brahms,  pfte.  Sonata,  op.  i,  last  movement.  —  Sonata,  op.  5,  last  movement 
(elaborate  Coda).  —  Symphony,  No.  i,  Poco  Allegretto.  —  Violin  Sonata,  No.  i,  op. 
78,  last  movement. 


EXERCISE  8. 

A  number  of  Second  Rondo  forms;  different  tempi  and  character,  Adagio, 
Lar ghetto,  Andante,  Allegretto  cantabile,  Allegro  maestoso,  Allegro  con  brio,  etc.  See 
par.  197,  i  to  7. 

N.B.  —  Any  instrument,  or  ensemble,  may  be  employed;  but  see  Exercise  7,  A. 


Par.  no. 


{&-' 
\ 


fLt  C— 'v-XT" 

f  , 


THE  THIRD  RONDO  FORM. 

J&&- 

HAPTER  IX. 


137 


THE  THIRD  RONDO  FORM. 


110.  See  par.  70.     The  diagram  of  the  Third  Rondo  form  is  as 
follows: 


First  Division 

Middle  Division 

Recapitulation 

Prin.  Th. 

I.Sub.Th. 

Prin.  Th. 

//.  Sub.  Th. 

Prin.  Th. 

/.  Sub.  Th. 

Prin.  Th. 

Any 

Rekted 

Possibly 

Broader  form, 

As  before 

As  before, 

(and) 

Part- 

key 

abbre- 

probably a 

but 

Coda 

form] 

viated 

remote  key 

transposed 

(to  princi- 

Trans./ 

Relrans^ 

ft 

Retrans. 

Trans.  \ 
(par.  1216) 

pal  key) 

k7 

c\ 

A. 

111.  JThe  thoughtful  consideration  of   this  diagram  reveals  several 
significant  traits  which  distinguish  it  from  the  preceding  Rondo  forms. 
First  of  all,  it  is  another  example  (and  the  largest)  of  the  "tripartite" 
form,  and  represents  the  most  extreme  evolution  (in  extent)  of  the 
structural  principle  of  "Statement-Departure-  and  Return,"  which 
underlies  every  grade  of  the  Three-Part  form.    Review  par.  85,  N.B. 

The  progressive  stages  of  this  evolution  are  thus  distinguished: 

1.  The  Three-Part  Period  (of  which  each  "Part"  is  a  phrase,  only, 
—  the  third  a  confirmation  of  the  first) ; 

2.  The  Three-Par  I  Song-form  (of  which  each  Part  is,  usually,  a 
Period,  or  moreT^^TEetnird  like  the  first) ;  ' 

3.  The  Song-form  with  Trio  (each  division  an  entire  Song-form); 
and  its  refined"  counterpart 

4.  The  J*J£stJ&ada-form  (each  division  an  individual  Theme,  the 
third  a  recurrence  of  the  first) ; 

5.  The  Third  Rondojorm  (the  first  division  a  complete  First  Rondo 
form,  the  middle  division  an  emphatic  Departure,  and  the  Recapitu- 
lation a  confirmation  of  the  first  division). 

Other  manifestations  of  this  sovereign  principle  of  musical  struc- 
ture will  be  encountered  later  (par.  143). 

112.  The  Third  divisiQn_ofthis  form  is  called  the  Recapitulation, 
because  it  is  a  collective  re-statemt  of-  oovorol  individual  factors. 


138          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  113. 

This  act,  and  therefore  the  name,  occurs  here  for  the  first  time  in  the 
process  of  formal  evolution,  but  is  a  distinctive  and  indispensable 
trait  of  all  the  succeeding  Larger  forms. 

113.  Probably  the  most  significant  technical  feature;  of  ^  Po^pUii- 
lation  is  the  transposed  recurrence  of  the  First  Subordinate  Theme_(a.s  a 


msequence  of  this  is,  that  while  there  are  three  digressions 
from  the  Prin.  Theme,  they  are  not  all  different  departures:  The  third 
digression  —  the  Subord.  Theme  in  the  Recapitulation  —  corresponds 
to  the  first  digression,  or  First  Subord.  Theme.  But  this  recurrence 
transcends  in  importance  the  common,  unaltered  da  capo  of  the  Minuet 
and  allied  dance-forms,  and  also  averts  monotony,  by  appearing  in  a 
different  key. 

That  the  principal  key  should  usually  be  chosen,  in  confirmation  of 
the  ruling  tonic  centre,  is  obviously  logical. 

114.  This  transposition  of  the  I.  Subord.  Theme  naturally,   and 
almost  inevitably,  exerts  an  important  influence  upon  the  treatment  of 
the  transition  and  retransition,  as  will  be  shown. 

THE  FIRST  DIVISION. 

115.  Tnriew  of  the  lengtk  of  the  Third  RonHo  form,  it  would  be 

ordinary  conditions)  to  choose  large  designs  for  the 
Themes.    At  the  same  time,  it  is  not  uncommon 


Theme  in  the  Three-Part  Song-form,  —  though  usually  concise  (In- 
coHJflKe,  or  Incipient  grade).  The  T  ^Mbflrfi  Th?mp  r  rarely  more 
Jjrrp_a  One-Part  form,  though  a  Codetta  is  frequently  added*.—  And, 
as  a  rule,  the  first  da  capo  (recurrence  of  the  Prin.  Theme)  is  abbre- 
viated to  one,  only,  of  its  Parts. 

On  the  other  hand,  the  Themes  should  not  both  be  so  brief  as  to 
reduce  the  whole  first  division  to  a  mere  Three-Par/  form  (par.  85). 

The  end  of  the  first  division  is  often  marked  with  a  double  bar.  This 
is  not  by  any  means  a  necessary  element  in  the  Third  Rondo  form,  but 
appears,  as  a  technical  expedient,  only  when  the  signature  is  changed  for 
the  key  of  the  middle  division.  For  all  the  Rondo  forms  are  distinguished 
by  their  almost  unbroken  continuity  from  beginning  to  end.  Never- 
theless, it  is  effective,  and  customary,  to  mark  the  close  of  the  first 
division  quite  emphatically,  by  a  strong  cadence,  and  by  an  abrupt 
announcement  of  the  II.  Subord.  Theme  (without  transition). 


Par.  116.  THE  THIRD  RONDO  FORM.  139 


See  Beethoven.  Sonata,  OP.  2.  No.  2.  last 

PrWltpaTTTtenie^A  major,  3-Jfart  form,  Incipient  grade  (to  measure  16); 

Transition-  phrase  (to  measure  20),  duplicated,  dissolved,  and  led  to  the  pro- 
spective tonic  (measure  26)  ; 

/.  Subord.  Theme,  E  major,  period-form,  Consequent  .phrase  extended  and  dis- 
solved, as  retransition  (measures  27-39);  "second  act"  to  meas.  40; 

Prin.  Theme  (measures  41  to  56),  as  before,  slightly  modified.  It  ends  with  a 
complete  tonic  cadence,  and  is  followed  immediately  (that  is,  without  transition)  by 
the  II.  Subord.  Theme,  in  a  minor  and  C  major.  A  double-bar  appears  at  this  point, 
in  consequence,  only,  of  the  change  of  signature. 

In  Beethoven,  Sonata,  op.  7,  last  movement,  the  recurrence  of  the  Prin.  Theme 
(E-flat  major)  is  abbreviated,  —  only  its  first  and  second  Parts  are  stated  (to  measure 
62);  two  measures  of  chromatic  transition  follow,  leading  to  the  prospective  tonic; 
the  II.  Subord.  Theme  begins,  with  double-bar  (on  account  only  of  the  intended 
repetition),  in  measure  65,  in  c  minor. 

In  Beethoven.  Sonata,  op.  2,  No.  i.  last  movement,  no  double-bar  appears  be- 
tween the  first  and  middle  divisions;  but  the  alteration  of  style  is  very  marked  in  the 
II.  Subordinate  Theme,  which  is  reached  by  a  brief  chromatic  transition  (measures 
101-102). 

116.  The  transition  and    the  retransition  are  made  precisely  as 
shown  in  the  First  Rondo  form. 

An  excellent  example,  just  cited,  is  the  Beethoven  Sonata,  op.  2,  No.  3,  last  move- 
ment? I'nHdpllt  S'tlKWlK,  C  lllajof^-.b1  al't  'fuiiu,  P-tut  HI  ij  JlmilDUd  Jm  ineas.  22) 
and  led  to  the  prospective  dominant  (meas.  29);  the  7.  Subord.  Theme,  G  major,  is  a 
period  (measures  30-39),  duplicated  and  extended,  closing  on  its  tonic,  G,  in  meas. 
55;  a  two-measure  Codetta  is  added,  and  three  times  repeated;  the  "second  act" 
of  retransition  extends  from  meas.  64  to  69,  where  the  Prin.  Theme  reenters.  The 
latter  is  abbreviated  to  its  first  Part  (meas.  69-76)  which  is,  however,  duplicated, 
greatly  extended,  and  led  to  a  complete  tonic  cadence  upon  A  —  the  mediant  of  the 
coming  Theme  (meas.  77-101).  As  stated  above,  two  chromatic  measures  lead  to 
the  II.  Subord.  Theme. 

THE  MIDDLE  DIVISION. 

117.  The  second  division  of  the  Third  Rondo  form  consists  solely  of 
the  II.  Subordinate  Theme,  with  its  retransition  back  to  the  Prin. 
Theme.    Both  the  Theme  and  the  retransition  are  therefore  likely  to 
assume  greater  dimensions,  and  a  more  striking  appearance,  than  the 
foregoing  factors.    Hence  the  frequent  r^anprp  .nf...  signature^   and  a 
marked  contrast  in  style,   especially  MTffryffefflffli  ^fi^^^tej   *Nn^   1n 


See  Beethoven,  Sonata,  op.  2,  No.  3,  last  movement  (just  cited):  The  77.  Sub- 
ordinate Theme,  in  F  major  (meas.  103),  is  a  fairly  broad  3-Part  form  with  repetition 
of  Parts  II  and  III;  the  latter  is  dissolved  (in  meas.  147),  "spun  out,"  and  led  to 


140  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  118. 

the  prospective  dominant  (measure  164),  therewith  dosing  the  "first  act"  of  retrans- 
ition;    the  "second  act"  extends  to  meas.  181  —  where  the  Recapitulation  begins. 

Beethoven,  Sonata,  op.  28,  last  movement:  The  II.  Subord.  Theme  (meas.  68) 
is  a  2-Part  form;  the  Second  Part  (meas.  79),  imitatory,  is  extended,  and  led  to  the 
prospective  dominant  (meas.  101);  the  "second  act"  of  retransition  extends  to  meas. 
113;  the  Recapitulation  begins  in  the  following  measure.  There  is,  in  this  example, 
no  transition  into  the  II.  Subord.  Theme,  no  change  of  signature,  and,  consequently, 
no  double-bar.  The  keys  are  D  major  and  G  major. 

118.  It  is  evident  that  the  design,  up  to  this  point,  agrees  exactly 
with  that  of  the  Second  Rondo  form.     But  the  student  will  appreciate 
that  this  similarity  is,  nevertheless,  more  external  than  vital.    A  com- 
poser should,  surely,  always  be  fully  conscious  of  his  larger  purpose; 
and  this  consciousness  should  inform  him  whether  he  has  in  mind  to 
employ  the  Second  form  or  the  Third.     For  this  choice,  despite  com- 
plete external  likeness  in  design,  must  determine  many  finer  details  of 
conception. 

THE  RECAPITULATION. 

119.  The  salient  feature  of  the  Recapitulation  is,   that  all   the 
Themes  are  (as  a  rule)  in  the  same  key  —  the  original  key.    The  con- 
sequent danger  of  monotony  must  be  averted  by  judicious  treatment 
of  the  transition  and  retransition,  and  also  by  interesting  variation  in 
the  presentation  of  the  Themes  themselves. 

120.  The  Prin.  Theme,  at  the  beginning  of  the  Recapitulation,  is 
usually  presented  in  its  complete  form,  as  at  first  (that  is,  not  abbre- 
viated), though  it  is  often  variated  and  ornamented,  sometimes  con- 
siderably. 

Beethoven,  op.  2,  No.  2,  last  movement:  The  Recapitulation  begins  at  the  third 
double-bar,  where  the  signature  is  again  changed  to  three  sharps;  it  extends  through 
16  measures;  compare  carefully  with  the  first  16  measures  of  the  movement. 

Beethoven,  op.  7,  last  movement:  The  Recapitulation  begins  in  the  seventh 
measure  from  the  last  double-bar  with  two  endings;  compare  with  the  first  16  meas- 
ures of  the  movement,  and  note  the  ornamentation  in  triplets. 

Beethoven,  op.  22,  last  movement:  The  Recap,  begins  in  meas.  112;  compare 
with  the  first  18  measures  of  the  movement;  note  the  transferring  of  the  melody  to 
the  inner  register,  and  other  (rhythmic)  changes. 

In  Beethoven,  op.  26,  last  movement,  the  Prin.  Th.  is  re-stated,  in  the  Recapitu- 
lation, exactly  as  at  first  (meas.  13  from  the  last  double-bar  with  two  endings). 

121.  From  the  fact  that  the  recurrence  of  the  I.  Subord.  Theme, 
at  this  point,  takes  place  in  the  same  key  (par,  119),  it  is  evident  that 


Par.  121. 


THE  THIRD  RONDO  FORM. 


141 


the  transition  here  must  pursue  a  course  widely  different  from  that  of 
the  ordinary  transition,  as  exhibited  in  the  First  division. 

a.  One  wfiy —  thp  mocf  gjmp1^,  though  inartistic,  and  therefore 
raremethod  —  is  to  t^*  n^rantoga-^t.  ^r  gj^"'«"*-y  pf  Hfflyj^tKJ  omit 
ffieTfansition  pi  together. 

This  happens  in  Beethoven,  Rondo,  op.  51,  No.  2  (G  major) :  The  Recap,  begins 
at  the  "Tempo  I,"  where  the  signature  is  changed  from  four  sharps  back  to  one 
sharp;  the  Prin.  Theme  extends  through  the  following  24  measures,  closing  with  a 
complete  tonic  cadence,  and  followed  immediately  by  the  I.  Subord.  Theme  (in  G). 

b.  But  the  opposite  course  is  generally  adopted:  Instead  of  short- 
ening, or  omitting,  this  transition,  it  is  made  longer  than  before,  so  as 
to  admit  'oT~gctti ng  an' ay  from  the  principal  key,  and  returning  lo  il.     TTiis 
is1  Indicated  by  tne  arrows  in  the  diagramTpu^nRofli^irftlc'n  Compare. 

This  more  extended  course  of  the  transition  almost  invariably 
includes  a  more  or  less  emphatic  modulation  in  the  subdominant  direc- 
tion, —  for  several  reasons,  chief  among  which  is,  probably,  the  fact 
that  the  I.  Subord.  Theme,  in  the  First  division,  is  usually  placed  above 
the  Prin.  Theme  (in  the  dominant  key,  at  least  from  major),  and  there- 
fore reappears,  in  the  Recapitulation,  in  a  key  which  is  the  subdominant 
of  its  first  location. 

This  is  disclosed  by  comparing  the  succession  of  keys  in,  say,  Beethoven,  op.  28, 
last  movement: 


Prin.  Th. 
D  maj. 


/.  Sub.  Tlieme 
A  maj.  *i) 


Pr.  Th. 
D 


II.  Subord.  Th. 
G  maj.  etc. 


Prin.  Th. 
D 


I.  Sub.  Th. 
D  maj.  *i) 


Pr.  Th.  &  Coda 
D 


*i)  The  I.  Subord.  Theme  appears  first  in  A,  then  in  D,  —  consequently  it  is 
finally  transposed  to  the  subdominant  of  its  first  key. 

The  subdominant  infusion  is  clearly  shown  in  the  Sonata  just  cited  (op.  28,  last 
movement):  The  Recap.  (D  major)  begins  in  meas.  114;  the  transition,  in  meas.  130, 
is  exactly  as  before  (meas.  17);  in  meas.  135  it  modulates  downward  into  the  sub- 
dominant  keys,  G  major  and  e  minor;  the  prospective  dominant  (A),  and  the  "second 
act"  of  transition,  runs  through  measures  138-144;  the  I.  Subord.  Th.  enters  in 
meas.  145.  The  transition  is  three  measures  longer  than  at  first,  in  consequence 
of  this  modulatory  excursion  (compare  with  measures  17-28,  29). 

Beethoven,  op.  26,  last  movement:  The  transition  (in  the  Recap.)  begins  in 
meas.  42  from  the  end,  exactly  as  in  meas.  28  (from  the  beginning);  comparison 
with  measures  28-32  shows  that  here  it  is  considerably  longer,  including  two  sub- 
dominant  modulations,  into  6-flat  minor  (i.e.,  from  four  flats  into  five).  In  Beethoven, 
Violin  Sonata,  op.  12,  No.  3,  last  movement,  the  Prin.  Th.  ilsdf  is  partly  transposed 
to  the  subdominant  key  (at  the  beginning  of  the  Recapitulation). 


142 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  lai. 


c.  As  usual,  the  process  of  dissolution  may  be  applied  to  the  final 
phrase  in  the  recurrence  of  the  Prin.  Theme  (or  a  part  of  it),  leading 
smoothly  into  the  I.  Subord.  Theme.  This  method  of  transition,  also, 
usually  exhibits  the  subdominant  tendency. 

Prin.  Th.  (first  time) 


BEETHOVEN, 
Sonata,  op.  13, 
last  movement. 


See  the  original 


Codetta  (duplication) 


etc.  to 


tr 


SpE 

'  \^ 

-^ 

^ 

—  tl 

; 

^ 

^s 

cr 

. 

-  r  r    1 

f  tl 

0 

» 

J 

RT-t>  — 

f  

—  *— 

1  1  

i  —  H 

1 

1 

*  .  1 

Prin.  Th.  (in  the  Recap.) 


etc.  to 


•3) 


Par.  121. 


THE   THIRD  RONDO  FORM. 


143 


(Extension  and  dissolution) 


I.  Subord.  Theme  (transp.) 

£ 


etc. 


r  r 


Dominant  (of  C) 


*i)  The  Prin.  Theme  is  a  period,  with  repeated  Consequent  phrase,  and  a  two- 
measure  Codetta,  the  duplication  of  which  is  here  shown. 

*a)  A  full  tonic  cadence,  followed  (in  the  first  division)  by  a  4-measure  transition, 
leading  to  the  I.  Subord.  Theme  in  E-flat  major  (see  the  original). 

*3)  This  is  the  duplication  of  the  Consequent  phrase,  extended  and  dissolved 
as  shown. 

*4)  Here  the  subdominant  infusion  (into  four  flats)  asserts  itself. 

*5)  The  I.  Subord.  Theme  appears  in  C  major  —  see  par.  122. 

d.  In  Beethoven,  Sonata,  op.  2,  No.  2,  last  movement,  the  transi- 
tion is  exactly  as  before,  excepting  an  unimportant  abbreviation  of  two 
measures  (not  affecting  its  cadence,  upon  E). 

This  first  transition  is  given  in  Ex.  41,  and,  as  there  pointed  out,  it  leads  to  the 
prospective  tonic  (E)  —  instead  of  the  usual  dominant.  But  this  same  note,  E,  is 
the  dominant  of  the  key  in  which  the  I.  Subord.  Theme  is  to  stand  in  the  Recapitu- 
lation (the  principal  key,  A  major),  —  therefore  it  serves  the  transitional  purpose 
here,  without  change,  even  better  than  before.  See  measures  24-25  from  the  change 
of  signature  (to  three  sharps). 

e.  The  connection  of  Themes  is  somewhat  peculiar  in  Beethoven, 
Sonata,  op.  7,  last  movement: 

The  peculiarity  is  cited  in  par.  82,  which  review;  namely,  the  I.  Subord.  Theme 
begins  (in  measure  17)  in  the  same  key,  E-flat  major,  and  makes  the  transition  to 
5-flat  major  within  itself  —  during  its  first  half-dozen  measures.  In  the  Recapitula- 
tion, precisely  the  same  conditions  prevail:  The  I.  Subord.  Theme  begins,  as  before, 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  122. 


in  .E-flat  major;  it  modulates  soon  into  the  subdominant  (/  minor),  and  thence  makes 
its  way  back  again  to  its  proper  key,  .E-flat  major,  —  again  containing  its  transition 
within  itself.  See  measures  23-31,  etc.,  from  the  last  double-bar  with  two  endings. 

122.  The  First  Subordinate  Theme,  in  the  Recapitulation,  is  trans- 
posed, almost  always,  to  the  principal  key,  as  intimated  in  the  diagram. 

a.  The  chief  exception  occurs  in  Rondos  in  minor,  where  a  change 
of  mode  is  not  uncommon.  Thus,  in  the  last  movement  of  the  Beet- 
hoven sonata^op.  13: 


Prin.  Th. 
c  minor 

7.  Sub.  Th. 
.E-flat  ma  j. 

Prin.  Th. 
c  mm. 

II.  Subord.  Th. 
.4  -flat  maj. 

Prin.  Th. 
c  minor 

/.  Sub.  Th. 
C  major 

Pr.  Th.  &  Coda 
c  minor 

*i)  The  I.  Subord.  Theme  appears  at  first,  as  is  usual,  in  the  relative  major  key. 
In  the  Recapitulation  it  would  be  expected  to  stand  in  the  principal  key,  c  minor; 
but  this  would  involve  an  alteration  of  the  mode  which  might  be  embarrassing,  and 
might  impair  the  Theme.  Hence  the  natural  inclination  to  change  the  mode  of  the 
Rondo,  rather  than  the  mode  of  the  Theme.  The  change  is  illustrated  in  Ex.  51, 
note  *s),  which  see. 

The  return  to  the  original  mode  (minor)  may  be  made  at  any  point,  during  the 
later  course  of  the  Subord.  Theme,  or  in  the  retransition.  In  some  cases,  a  similar 
change  of  mode  (from  minor  to  major)  occurs  in  the  Coda,  leading  to  a  final  cadence 
in  major.  Beethoven,  Sonata,  op.  10,  No.  i,  last  movement. 

b.  The  deliberate  choice  of  some  other,  unexpected,  key  is  seen 
in  Beethoven,  Sonata,  op.  14,  No.  i,  last  movement: 

The  I.  Subord.  Theme,  derived  directly  from  the  Consequent  phrase  of  the  Prin. 
Theme,  begins  in  measure  14  —  in  the  usual  dominant  key  (B  major,  from  £).  In 
the  Recapitulation,  the  I.  Subord.  Theme  is  presented  completely  (including  its 
Codetta)  in  A  major  —  instead  of  the  expected  principal  key,  E  major.  See  meas- 
ures 8-25  from  the  change  of  signature  to  four  sharps. 

123.  In  reference  to  such  transpositions,  or  presentation  of  Themes 
in  some  unexpected  key  —  which  is  not  an  uncommon  circumstance 
(par.  167)  —  the  student  (both  in  practice  and  in  analysis)  must  bear 
the  following  conditions  in  mind:  The  transposed  recurrence  of  any 
foregoing  material,  especially  the  initial  melodic  member  of  the  Prin. 
Theme,  must  not  be  accepted  hastily  as  an  actual  presentation  of  the 
Theme  itself,  in  a  manner  influencing  the  meaning  of  the  design,  but 
must  be  examined  in  all  of  its  bearings  upon  the  latter.  Such  a  recur- 
rence is  not  the  "Theme"  itself,  but  merely  an  allusion  to  it,  or  a  struc- 
tural deduction  from  it  — 


Par.  124.  THE  THIRD  RONDO  FORM.  145 

(1)  If  it  is  not  in  the  legitimate  and  expected  key; 

(2)  If  it  is  only  a  portion  of  the  Theme  (less  than  one  entire  Part)', 

(3)  If  it  does  not  appear  in  its  expected  place  in  the  design. 

See  Example  49,  note  *3).  This  is  not  the  Prin.  Theme  itself,  because  it  is  not 
in  the  right  key  (C),  and,  chiefly,  because  it  is  no  more  than  a  fragment  of  the  Theme. 
Also  Ex.  46,  note  *2);  not  the  actual  Prin.  Theme,  but  merely  its  thematic  motive 
employed  as  retransition,  for  the  same  reasons.  Also 

Beethoven,  Sonata,  op.  10,  No.  3,  last  movement;  measures  46-48  are  only  an 
allusion  to  the  Prin.  Theme,  because  limited  to  this  fragment,  and  in  the  wrong  key; 
they  represent  a  section  of  the  retransition.  Similar:  Rondo,  op.  51,  No.  i;  meas- 
ures 76-83  allude  to  the  Prin.  Theme,  but  only  to  utilize  its  first  phrases  as  material 
for  the  retransition  (second  section).  This  was  a  favorite  device  of  Beethoven,  and 
is  worthy  of  imitation. 

124.  On  the  contrary,  such  a  recurrence  may  and  will  actually 
represent  the  Theme,  even  when  transposed  — 

(1)  If  it  covers  the  entire  Theme,  or  a  convincingly  large  proportion 
(an  entire  Part)  of  it; 

(2)  If  it  ultimately  turns  back  into  the  legitimate  key; 

(3)  If  it  appears  where  expected. 

See  par.  1226.  Also,  Beethoven,  Sonata,  op.  10,  No.  i,  first  movement,  measures 
110-127  from  tne  double-bar;  the  Subord.  Theme  appears  here  in  F  major  instead 
of  the  expected  key,  c  minor,  —  but  swings  over  into  the  latter  key,  and  begins  anew 
in  meas.  128  (compare  measures  56-70  from  the  beginning).  In  other  words,  this  is 
the  Subord.  Theme,  despite  the  change  of  key,  — tfor  the  given  reasons.  Also,  Beet- 
hoven, Sonata,  op.  10.  No.  2,  first  movement,  at  the  change  of  signature  to  two 
sharps:  The  following  12  measures  are  the  Prin.  Theme,  although  it  appears  in 
D  major,  instead  of  F  major  —  compare  the  first  12  measures  of  the  movement. 
Four  measures  later  it  regains  the  original  key,  and  is  then  duplicated  there,  in  ulti- 
mate confirmation  of  its  thematic  quality.  Also,  Sonata,  op.  7,  last  movement, 
measure  28  from  the  end:  The  phrase  in  E  major  is  a  transposed  statement  of  the  Third 
Part  (of  the  final  recurrence  of  the  Prin.  Theme)  —  extended,  led  back  to  the  original 
key,  and  there  duplicated,  with  some  alterations.  Also,  Sonata,  op.  22,  last  move- 
ment: The  II.  Subord.  Theme  (measures  72-103)  is  a  3-Part  form,  with  transposed 
Third  Part  —  as  every  detail  proves.  Similar:  Sonata,  op.  14,  No.  i,  last  movement, 
from  first  change  of  signature  to  the  next. 

Such  transpositions,  especially  of  entire  Themes,  are  frequently  en- 
countered in  the  larger  forms  of  Schubert,  as  will  be  seen  (par.  167). 

125.  Another  misleading  device  —  partly  analogous  to  par.  123  — 
is  the  free  adoption  of  any  foregoing  thematic  unit,  as  basis  for  quite 
another  factor  of  the  form;  or,  in  other  words,  the  use  of  the  selfsame 
thematic   material   for   different    structural   purposes.    The    student 
must  be  on  his  guard  against  misinterpretation  of  these  deceptive 


146  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  ia6. 

coincidences,  —  must  not  jump  at  the  conclusion  that  such  a  member 
is  the  Theme  in  question,  simply  because  it  looks  like  it.  See  Ex.  55, 
note  *2). 

Instances  of  this  kind  have  already  been  seen:  Beethoven,  Sonata,  op.  26,  last 
movement.  As  shown  in  Ex.  38,  No.  i,  Ex.  45,  and  Ex.  47,  the  transition,  I.  Subord. 
Theme,  and  retransition,  are  all  wrought  out  of  the  thematic  figure  of  the  Prin.  Theme. 
—  Sonata,  op.  14,  No.  i,  first  movement  (Ex.  37):  measures  13-14  are  identical  with 
measures  1-2;  at  first,  these  figures  are  a  part  of  the  Prin.  Theme;  their  recurrence 
is,  however,  a  part  of  the  transition.  —  Same  sonata,  last  movement:  The  I.  Subord. 
Theme  (meas.  14)  is  similar  to  the  Consequent  phrase  of  the  Prin.  Theme.  —  Sonata, 
op.  14,  No.  2,  last  movement:  The  transition  (meas.  64-72)  is  based  upon  the  Second 
Part  of  the  Prin.  Theme  (meas.  8-16).  —  Same  movement:  The  first  section  of  the 
Coda  (meas.  160)  is  so  nearly  identical  with  the  Second  Part  of  the  Prin.  Theme, 
immediately  preceding,  that  it  might  easily  be  construed  as  an  intention  of  repeating 
the  foregoing  two  Parts;  there,  it  was  in  the  Prin.  Theme;  here,  it  is  in  the  Coda  — 
thus  serving  a  wholly  different  purpose.  —  Sonata,  op.  22,  last  movement:  The 
transition-phrase,  first  stated  in  measures  18-20,  and  again  (before  the  II.  Subord. 
Theme)  in  measures  67-69,  is  utilized  as  thematic  basis  of  the  entire  Second  Part  of 
the  II.  Subord.  Theme  (measures  80-95).  —  An  unusually  misleading  example  occurs 
in  Beethoven,  Sonata,  op.  2,  No.  2,  Largo,  measure  13  from  the  end:  The  8-measure 
period,  from  this  point,  is  not  the  Prin.  Theme  itself,  despite  very  close  resemblance 
to  it,  because  it  is  not  in  the  proper  place  —  being  unquestionably  nothing  else  than 
one  of  the  four  sections  of  the  Coda,  —  and  because,  furthermore,  it  differs  from 
the  Theme  (measures  1-8  of  the  movement)  significantly  in  the  (important)  fifth 
measure. 

Such  instances  of  the  employment  of  the  same  thematic  factor  for 
widely  different  aims,  are  extremely  numerous.  And  that  these  coin- 
cidences should  appear,  is  -precisely  as  it  should  be,  in  good,  logically 
coherent,  musical  form.  For  they  contribute  to  the  unity  of  the  design, 
and  can  easily  be  so  manipulated  as  to  avert  monotony  or  confusion. 
The  student  must  simply  keep  his  attention  bent  unwaveringly  upon 
the  broad,  vital  lines  of  the  design  as  a  whole,  and  not  allow  these  to 
become  obscured. 

126.  After  the  presentation  of  the  I.  Subord.  Theme,  in  the  Re- 
capitulation, attention  will  be  directed  to  the  return  of  the  Prin.  Theme; 
and  the  same  difficulties  are  involved  in  this  retransition  as  in  the  pre- 
ceding transition,  in  consequence  of  the  similarity  of  key. 

As  before  (par.  i2ia),  this  similarity  is  sometimes  turned  to  advan- 
tage, and  an  immediate  return  made  to  the  Prin.  Theme,  without 
transition. 

Beethoven,  Sonata,  op.  2,  No.  2,  last  movement,  measure  53  from  the  end;  the 
dose  connection  is  emphasized  by  an  elision  of  the  cadence. 


Par.  127.  THE  THIRD  RONDO  FORM.  147 

Generally,  however,  the  final  phrase  of  the  I.  Subord.  Theme  (or 
its  Codetta)  is  dissolved,  and  led  to  the  prospective  dominant  in  the 
usual  manner. 

Beethoven,  Sonata,  op.  2,  No.  3,  last  movement;  at  measure  68  from  the  end, 
the  I.  Subord.  Theme  terminates  on  its  dominant  (G)  instead  of  its  tonic;  this  is 
exactly  where  it  closed  in  the  first  division  (meas.  55  from  the  beginning),  and  results 
from  different  manipulation  of  its  final  phrase  —  compare  carefully.  From  this 
dominant,  the  retransition  (including  the  former  Codetta)  proceeds  almost  exactly 
as  before.  —  Sonata,  op.  7,  last  movement,  similar  (meas.  41-44  from  the  end).  — 
Sonata,  op.  13,  last  movement,  similar;  the  Codetta  (meas.  57  from  the  end)  is 
reduced  to  the  first  of  its  two  phrases,  which  is  duplicated,  extended,  dissolved,  and 
led  to  the  dominant  in  the  usual  way;  the  "second  act"  follows,  to  the  re-entrance 
of  the  Prin.  Theme.  —  Sonata,  op.  22,  last  movement:  The  I.  Subordinate  Theme  is 
re-stated  exactly  as  in  the  first  division,  and  also  its  Codetta,  with  its  duplication  and 
dissolution;  this  leads,  of  course,  into  the  subdominant  key  (meas.  48-50  from  the 
end);  it  is  followed  by  a  pretended  announcement  of  the  first  phrase  of  the  Prin. 
Theme,  in  the  subdominant  key;  this  is  not,  however,  the  Theme  itself,  but  merely 
the  second  section  of  the  retransition  (comp.  par.  123).  The  actual  Prin.  Theme 
enters  a  few  measures  later. 

127.  The  final  presentation  of  the  Prin.  Theme  in  the  Third  Rondo 
form  is  its  fourth  statement,  and  is  therefore  (unless  unusually  signif- 
icant and  attractive)  apt  to  be  ineffective,  although  prescribed  in  the 
regular  design.  For  this  reason,  as  intimated  in  the  diagram,  it  is 
most  common  to  abbreviate  it,  or  to  merge  it  in  the  Coda  (by  way  of 
dissolution),  or  even  to  omit  it  altogether.  Compare  par.  106. 

In  Beethoven,  op.  26,  last  movement,  the  final  da  capo  (i.e.,  the  Prin.  Theme)  is 
entirely  omitted.  The  I.  Subord.  Theme,  with  its  complete  tonic  cadence,  is  fol- 
lowed immediately  by  the  Coda  (measure  16  from  the  end).  See  also: 

Beethoven,  Rondo,  op.  51,  No.  2:  The  final  recurrence  of  the  Prin.  Theme  is 
omitted;  the  I.  Subord.  Theme  (in  the  Recapitulation)  is  stated  completely,  and 
exactly  as  before  (with  slight  changes,  only);  what  followed  it  in  the  first  Division, 
as  retransition,  is  also  added  here,  but  as  first  section  of  the  Coda  (measure  48  from  the 
end).  The  Prin.  Theme  (Part  III)  is  alluded  to,  quite  strongly,  in  the  second  section 
of  the  Coda.  Compare  par.  125  —  especially  the  reference  to  op.  2,  No.  2,  Largo.  — 
Sonata,  op.  2,  No.  2,  last  movement:  The  final  Prin.  Theme  is  abbreviated  to  its 
First  Part,  which  is,  however,  ingeniously  extended  (meas.  53  from  the  end).  — 
Sonata,  op.  2,  No.  3,  last  movement:  The  final  Prin.  Theme  (measure  54  from  the 
end)  appears  fragmentarily,  as  first  section  of  the  Coda.  —  Sonata,  op.  28,  last  move- 
ment: The  I.  Subord.  Theme  (in  the  Recapitulation,  measure  145)  recurs  as  before, 
with  its  Codetta;  the  latter,  also,  is  duplicated  twice  and  extended  exactly  as  before 
—  therefore  terminating  a  fifth  lower  (or  4th  higher)  than  at  first;  the  Prin.  Theme, 
as  final  da  capo,  does  not  follow,  but  it  is  intimated,  in  the  subdominant  key  (G),  as 
first  section  of  the  Coda.  On  the  other  hand,  in  Beethoven,  Sonata,  op.  7,  last 
movement,  the  final  Prin.  Theme  appears  more  elaborate  than  before,  being  extended 
in  its  III.  Part  by  a  characteristic  modulation  (measures  11-41  from  the  end). 


148  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  ia8. 

THE  CODA. 

128.  The  consistency  of  the  Coda  corresponds  here  to  that  of  the 
preceding  Rondo  forms,  and  requires  no  further  illustration. 


129.  Beyond  this  the  Rondo  form  very  rarely  extends.  Further 
digression  from,  and  return  to,  the  Prin.  Theme  would  divest  the  form 
of  the  necessary  compactness  and  symmetry,  so  admirably  manifested 
in  the  First  and  Third  Rondo  forms  especially;  and  would  produce  a 
discursive,  straggling  impression,  of  questionable  interest,  and  inevita- 
bly monotonous.  Even  the  Third  Rondo  form,  as  has  been  learned, 
has  no  more  than  two  different  Subord.  Themes. 

Isolated  examples  of  a  more  extended  form  occur  in  Mozart,  Sonata,  No.  8 
(Schirmer  edition),  last  movement;  and  Sonata,  No.  17,  last  movement.  Also: 

Beethoven,  Violin  Sonata,  op.  23,  last  movement. 

And  the  Primitive  small  "Rondeau"  of  the  17-18  centuries  was  often  prolonged 
to  include  three,  and  even  more,  independent  digressions  or  "couplets."  (See  Homo- 
phonic  forms,  par.  108.) 


The  following  Rondos  of  Beethoven  have  been  cited  in  detail  in 
the  above  paragraphs.  But  they  should  now  be  thoroughly  analyzed 
as  a  whole: 

Beethoven,  Sonata,  op.  2,  No.  2, 

Beethoven,  Sonata,  op.  2,  No.  3, 

Beethoven,  Sonata,  op.  7, 

Beethoven,  Sonata,  op.  13, 

•  last  movement  of  each. 
Beethoven,  Sonata,  op.  14,  No.  i, 

Beethoven,  Sonata,  op.  22, 

Beethoven,  Sonata,  op.  26, 

Beethoven,  Sonata,  op.  28, 

Beethoven,  Rondo,  op.  51,  No.  2.    See  further: 

Beethoven,  Violin  Sonata,  op.  12,  No.  i,  third  movement;  (last  da  capo  omitted). 

Beethoven,  Violin  Sonata,  op.  12,  No.  2,  third  movement;  (last  da  capo  omitted). 

Beethoven,  Violin  Sonata,  op.  12,  No.  3,  third  movement;  (Prin.  Th.  at  the  be- 
ginning of  the  Recapitulation  partly  tranposed  to  the  subdominant;  final 
da  capo  merged  in  the  Coda). 


Par.  129.  THE  THIRD  RONDO  FORM.  149 

Beethoven,  Violin  Sonata,  op.  24,  last  movement;  (I.  Subord.  Theme,  in  the 
Recapitulation,  appears  in  a  remote  key). 

Beethoven,  String-Trio,  op.  3,  last  movement;  (very  broad;  II.  Subord.  Theme 
long,  sectional  in  form,  and  imitatory;  long  Coda,  ten  brief  sections). 

Schubert,  pfte.  Sonata,  No.  i,  op.  42,  last  movement  (broad). 
Mozart,  Sonata,  No.  13  (Schirmer  edition),  last  movement. 
Mozart,  Sonata,  No.  10  (Schirmer  edition),  last  movement. 
Glazounow,  pfte.  Sonata,  No.  2,  op.  75,  Scherzo  (no  final  da  capo). 

Glazounow,  pfte.  Sonata,  No.  i,  op.  74,  last  movement;  (regular;  final  da  capo 
merged  in  the  Coda). 

Mendelssohn,  Violoncello  Sonata,  op.  45,  last  movement;  (elaborate  transitions 
and  retransitions  —  the  latter,  in  every  case,  extremely  ingenious  and  effective). 
—  Pfte.  Trio,  No.  I,  op.  49,  last  movement;  (very  broad,  but  regular;  effective 
reference  to  the  II.  Subord.  Theme  in  the  Coda).  —  Pfte.  Trio,  No.  II,  op.  66,  last 
movement  (very  similar;  also  contains  a  climactic  reference  to  the  II.  Subord.  Theme, 
in  the  Coda). 

Beethoven,  Violoncello  Sonata,  op.  5,  No.  i,  last  movement.  —  Op.  5,  No.  2, 
last  movement. 

Beethoven,  Symphony,  No.  6  (Pastorale),  last  movement  —  16  measures  of  Intro- 
duction. 

Beethoven,  Symphony,  No.  4,  Adagio. 

Brahms,  String-sextet,  No.  i,  op.  18,  last  movement.  —  Violoncello  Sonata, 
No.  2,  op.  99,  last  movement  (Prin.  Theme  transposed,  in  the  Recapitulation;  par. 
167*1).  —  Violin  Sonata,  No.  2,  op.  100,  last  movement  (Prin.  Theme  transposed,  in 
the  Recapitulation).  —  Violin  Sonata,  No.  3,  op.  108,  last  movement;  a  superb 
example;  Prin.  Theme,  2-Part  form,  Part  II  dissolved,  as  transition;  I.  Subord. 
Theme,  broad  2-Part  form,  Part  I  duplicated,  Part  II  related  to  Prin.  Theme;  Co- 
detta (two  measures),  duplicated  and  extended,  as  retransition;  first  recurrence  of 
Prin.  Theme  reduced  to  its  First  Part  —  first  phrase  transposed;  II.  Subord.  Theme 
(related  to  Prin.  Theme),  a  group  of  phrases,  imitatory,  phrase  four  extended  as 
retransition;  second  recurrence  of  Prin.  Theme  (Recapitulation),  Part  I  transposed 
and  elaborately  extended,  Part  II  as  before,  but  with  different  methods  of  dissolution; 
Coda,  last  27  measures. 

Beethoven,  String-quartet,  op.  18,  No.  4,  last  movement:  This  is  the  design  of 
the  Third  Rondo  form;  but  its  distinct  cadences,  and  detached  periods,  assign  it  to 
the  lower  grade  of  Song-form  with  Trios.  —  Schumann,  pfte.  Quintet,  op.  44,  second 
movement  (Marcia)  is  similar. 


1 50  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  130. 

EXERCISE  9. 

A  number  of  examples  of  the  Third  Rondo  form,  in  various  styles,  but  hi  no 
tempo  slower  than  Allegretto. 

N.B.  —  Write  for  pianoforte,  organ,  pfte.  duo  (Violin  or  'Cello),  or  trio.  See  par. 
197,  i  to  7. 


DIVISION  THREE. 
THE   SONATA-ALLEGRO    FORMS. 

INTRODUCTION. 

130.  Review  par.  70.    Of  the  two  distinct  classes  of  the  Larger 
forms,  that  of  the  Rondo  is  based  throughout,  as  has  been  shown,  upon 
the  structural  principle  of  Alternation. 

Th^  jju^Harnmtal^gtructural  idea  of  the  other  dags,  the  Sonata- 
allegro,  is  that  01  Union.  —  tn^SSTBrflflKWaTmn  nf  twn  contrasting 
Themes  upon  quite,  or  nejyJYi-gguaJ-Jppting.  The  second  Theme 
SJbuld  be  as  significant  as  the  firsthand  is  called  "Subordinate"  only 
because  it  occupies  the  second^jj|afifcJfl~J^  iriianintic  order,  —  the 
Jemg  first  in  order,  naturally. 

131.  This  union  of  the  two  Themes  (made  binding  by  the  necessary 
transition  between  them,  and  further  confirmed  —  as  a  rule  —  by  the 
addition  of  one  or  more  Codettas)  constitutes  the   Exposition,    which 
very  frequently  terminates  with  a  complete  tonic  cadence,  in  the  key 
chosen  for  the  Subord.  Theme,  —  and  a  double-bar. 

132.  In  the  larger  species  of  this  class,  the  Sonata-allegro  form, 
the  Exposition  is  followed  by  a  so-called  Development,  and  the  latter  by 
a  Recapitulation  of  the  Exposition;    therefore  the  design  comprises 
three  Divisions. 

In  the  smaller  species,  the  Sonatina-form,  the  Exposition  is  followed 
at  once  (or  after  a  few  measures  of  retransition)  by  the  Recapitulation; 
therefore  this  design  contains  two  Divisions  only. 


Par.  133. 


THE  SONATINA-FORM. 


CHAPTER  X. 

THE   SONATINA-FORM. 
133.    The    term    sonqtinn.     as    Himinntivp     of 


sntu.tfi. 


fnrfhpr  qiialifira.tlnn  fn  tht* 


pf  fhj 


g  of  forms, 

and  does  not  imply  any  special  tempo  or  style  of  music.     Comp.  par.  142 
Tne  diagram  of  the'SonaLma-Iolffl  Is 


A. 


Exposition 

Recapitulation 

Prin.  Theme 

Subord.  Th. 

Re- 

Prin.  Th. 

Subord.  Th. 

Any  Part- 

Related 

trans. 

As  before. 

Transposed 

form. 

key. 

(to  princi- 

Transition 

pal  key). 

Transition. 

(Codetta.) 

(modified) 

(Codetta.) 

Coda 


134.  As  pointed  out  in  Ex.  37,  note  *i),  which  review,  all  of  the 
larger  forms  follow  the  same  schedule  up  to,  and  into,  the  Subordinate 
Theme.    After  that  they  diverge  and  pursue  different  courses,  accord- 
ing to  the  purpose  of   creating  either  one  of   the  three  Rondos,  the 
Sonatina-form,  or  the  Sonata-allegro  form.    This  confirms  the  prin- 
ciple that  the  form  should  be  determined  by  the  music,  and  not  the 
music  by  the  form.    The  design  which  the  music  is  to  adopt  cannot 
be  positively  forecast  until  enough  of  the  latter  has  appeared  to  define 
the  choice.    The  student  must,  however,  make  it  his  aim  at  first  to 
carry  out  the  fixed  details  of  each  diagram  in  turn,  and  familiarize  himself 
thoroughly  with  each,  until,  by  comparison,  he  has  fully  mastered  the 
distinctive  qualities  of  them  all,  and  can,  later  on,  guide  his  conception  ' 
into  its  proper  and  most  effective  channels.     Compare  par.  118. 

THE  EXPOSITION. 

135.  Thp  prinrlpal  Theme.  m  the  Sonatina-form,  may  be  in  any 
of  the  Part-forms  (probably  not  the  largest,  often  only  One-Part),  and 
in  almost  any  style  and  tempo,  though  usually  a  slow  movement. 
Review  par.  68.     As  a  rule,  it  will  be  somewhat  less  pretentious  than 
that  of  the  larger  (Sonata-allegro)  species. 


152          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  136. 

136.  The  transition  into  the  other  Theme  is  in  no  respect  different 
in  purpose  from  that  of  any  other  form,  and  requires  no  further  explana- 
tion; but  it  is  considered  an  indispensable  factor,  and  is  often  some- 
what assertive. 


137. 


Thpmp, 


must  be  regarded  as  a 


more  significant  element,  here,  than  in  the  Rondo  forms,  and  may  there- 
fore be  both  more  daboiat£ijstrikljig»  and  of  somewhat  greater  length. 
TfisplacecITasiisual,  in  some  related  key^most  commonly  In  fne  domi- 


nant  key  from  major,  or  the  relative  key  from  minor. 

The  addition  of  a  Codetta,  or  even  more  than  one  (in  the  same 
key),  is  characteristic,  though  not  imperative  in  this  smaller  species  — 
the  Sonatina-form.  See  Ex.  54,  note  *i). 

138.  Whether  the  Exposition  terminates  with  a  complete  tonic 
cadence,  or  is  dissolved  and  led  into  the  retransition,  depends  upon 
the  character  and  current  of  the  music.  No  "double-bar"  ever  ap- 
pears (as  in  the  Sonata-allegro  form  —  par.  144),  as  this  would  interfere 
with  the  retransition,  and  is  furthermore  needless  because  the  Exposi- 
tion of  a  Sonatina-form  is  never  repeated.  But  the  Exposition  should, 
nevertheless,  be  conceived  as  a  finished  whole,  a  consummated  union 
of  the  two  Themes  —  free  from  any  symptom  of  the  Rondo,  despite  the 
immediate  retransition  to  the  Prin.  Theme. 


THE  RETRANSITION. 


139.  "TV^  i0™g>k  ^n^  Importance  of  the  retransition  depends  upon 
circumstances;  but  it  never  oversteps  the  purpose  of  mere  retransition, 
even  when  fairly  lengthy/lirTIRrffifFMi  Sonafina-Jorm.  Us  conduct 
is  determined  accbr^agTn^fBSTalready  given. 


Ex. 
52. 


EXPOSITION 
Prin.  Theme  *2) 


BEETHOVEN, 
Trio,  op.  i,  No.  2, 
Adagio  movement. 
See 


P 


Par.  139. 


THE  SONATINA-FORM. 


153 


££=ffo=^f=Pf=q 
1       .!_•'        '   J 


etc.,  to 


dissolved    ("  first  act "  of  Transition) 


5: 


T 


a 


# 


I 

"second  act" 


^r^ 


Prospective  dominant 


etc.,  3  meas. 


% 


r   f- 


!=M: 


154  THE   LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  139. 


Subord.  Theme  "4) 

-0 +* X»    •    •    f- 


*=W 


Par.  139. 


THE  SONATINA-FORM. 


155 


''second  act" 


RECAPITULATION 


forp  :       8  .        jtfyg  .      »  .      Mr          r  '  *1 

•»•       »P        V    *f*       *^  ii4i  tnarendn  K 


^>  morendo 


^& 


^ 


sf    f 


Dominant 

*i)  The  original  is  in  Trio-score,  of  course  —  which  should  be  carefully  consulted. 
The  above  example  is  condensed  to  a  pianoforte  version,  for  convenience. 

*2)  The  Prin.  Theme  is  a  regular  8-measure  period,  duplicated,  dissolved,  ex- 
tended, and  led  to  the  prospective  dominant,  where  the  "second  act"  of  transition 
begins,  —  as  shown. 

*3)  The  transitional  prolongation  of  the  dominant  extends  through  eight  measures, 
in  all. 

*4)  The  Subord.  Theme  is  a  Group  of  (four)  phrases,  quasi  Double-period.  It 
begins  in  the  customary  dominant  key,  and  continues  there  for  eight  measures; 
then  modulates,  abruptly,  to  G  major,  in  which  (remote)  key  it  terminates,  with  a 
complete  tonic  cadence. 

*5)  There  is  no  Codetta  to  the  Subord.  Theme;  but  its  place  is  taken  by  this 
one-measure  extension  of  the  cadence. 

*6)  The  entire  retransition  is  based  upon  the  initial  melodic  member  of  the 
Principal  Theme,  but  employed  in  such  a  skilful  manner  as  to  prepare  for,  and  yet 
not  anticipate,  the  Theme  itself. 

See  further  (the  Exposition  only)  : 

Beethoven,  Sonata,  op.  10,  No.  i,  Adagio;  Prin.  Theme  (A-Qat  major),  Two- 
Part  lorm,  rart  li  dissolve3^5?Transition  (meas.  17-21,  22,  23);  Subord.  Theme 
(E-flat  major)  quasi  Period,  with  duplication  of  each  phrase  (meas.  24-42)  ;  cadence 
extension,  in  lieu  of  a  Codetta  (meas.  43-44)  ;  the  Exposition  closes  with  a  complete 
tonic  cadence  in  E-flat  major  (meas.  44);  the  retransition  covers  only  one  measure 
—  the  simple  arpeggiated  dominant-  seventh  chord  —  meas.  45. 

Beethoven,  g™iata  /      -^  MV>  n   \fag:r-  prf"  Theme  (5-flut  major)  is  in  Two- 


Part  iorm  (fart  l,  to  meas.  17);  Part  II  is  dissolved,  as  transition,  and  led,  rather 
abruptly,  to  the  prospective  dominant  (meas.  23);  the  "second  act"  extends  to 
meas.  30;  the  Subord.  Theme  (F  major)  is  a  duplicated  phrase  with  tonic  cadence 
(meas.  31-38);  the  retransition  covers  four  measures,  is  merely  a  "second  act," 
upon  the  prospective  dominant,  and  is  patterned  after  the  preceding  "transition"; 
the  Recapitulation  follows,  in  meas.  43. 

Beethoven,  pfte.  Trio,  op.  9,  No.  i,  Adagio;  The  final  phrase  of  the  Subord. 
Theme  is  dissolved,  and  led  directly  over  into  the  Recapitulation. 

Beethoven,  String-Trio,  op.  3,  Adagio:  A  brief  Codetta  is  added  to  the  Subord. 
Theme,  and  extended  into  a  brief  (s-measure)  retransition. 


1  56          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  140. 

THE  RECAPITULATION,  AND  CODA. 
140.  As  in  the  Third  rond" 


live  re-statement  of  the  thematic  members  of  the  first  Division  or 

.  . 
Ffenosi  f.ion  •    and        n^i>^^  ^  ^  }l  of  fht  Subor- 


dinate Theme,  —  as  a  rule,  to  the  principal  key.  Review  par.  119. 
Tmscnange  of  key  influences  the  conduct  of  the  transition,  as  shown 
in  par.  121,  which  carefully  review.  Also  par.  122. 

The  illustration  given  in  Ex.  52  (Exposition),  is  continued,  as  Re- 
capitulation, in  the  following  manner: 


RECAPITULATION 
Prin.  Theme  *i) 


Ex. 
53. 


y. 


Continuation 
of  Ex.  52. 


etc.  to 


i 


Extension  and  Transition  ("second  act") 


Par.  140. 


THE  SONATINA-FORM. 


157 


-*-*-  IFTF 


Subord.  Theme  *3> 


J/ 


etc.  to 


158  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  140. 

Sec.  2  (ii  measures) 


CODA 

Section  i  (8  measures) 

N- 


*5)^H=ZZZZC  ff    -      _  6     etc.        Tt- 


cad. 
(elision) 


Sec.  3  (7  measures) 


, 

etc. 


Sec.  4(7  measures) 


Sec.  5  (10  measures) 


etc. 


*i)  The  Prin.  Theme  is  presented  as  before,  but  embellished.  Compare  (in  the 
original)  with  the  first  version. 

*2)  At  this  point,  the  final  phrase  of  the  Prin.  Theme  diverges  from  its  original 
course,  and  is  directed  toward  the  prospective  dominant  (in  this  case,  B).  The 
"second  act"  is  much  shorter  than  before,  but  runs  into  the  Subordinate  Theme  in 
the  same  manner, 


Par.  i4o.  THE  SONATINA-FORM.  159 

*3)  The  Subord.  Theme  is  transposed,  as  usual,  to  the  principal  key.  Compare 
Ex.  52. 

*4)  The  somewhat  unusual  (remote)  modulation,  made  in  the  final  phrase  of  the 
Subord.  Theme,  in  the  Exposition,  is  made  again  here  —  to  C  major  —  and  is  fol- 
lowed up,  as  there,  with  a  little  change,  so  that  the  Recapitulation  closes  with  a  com- 
plete tonic  cadence  in  a  minor  (instead  of  E  major,  as  was  to  be  expected). 

*5)  The  Coda  begins,  with  an  elision  of  the  cadence,  in  this  remote  key.  It 
contains  five  brief  sections,  all  of  which  (excepting,  perhaps,  section  3)  are  derived 
from  the  Prin.  Theme.  Section  2  is  patterned  after  the  retransition.  The  original 
key,  E  major,  is  regained  at  the  end  of  the  second  section,  and  maintained  to  the 
end,  only  excepting  one  brief  modulation  in  section  4. 

See  the  continuation  (as  Recapitulation)  of  the  examples  given  at 
the  end  of  par.  139: 

Beethoven,  Sonata,  op.  10,  No.  i,  Adagio.  —  Sonata,  op.  31,  No.  2,  Adagio.  — 
Pfte.  Trio,  op.  9,  No.  i,  Adagio.  —  String-Trio,  op.  3,  Adagio. 
See  further  (the  entire  movement  of  each) : 

Beethoven,  Symphony,  No.  8,  Allegretto  scherzando. 

Schubert,  pfte.  Sonata,  No.  4,  op.  122,  Andante  molto;  Prin.  Theme  (g  minor), 
group  of  four  phrases,  and  Codetta;  the  Subord.  Theme  (in  an  unexpected  key 
—  E-flat  major)  is  a  Two-Part  form,  and  closes  with  a  complete  tonic  cadence  in 
i-flat  minor  (instead  of  the  expected  5-flat  major);  the  retransition  is  an  apparent 
extension  of  the  foregoing,  and  covers  7  measures;  the  Recapitulation  closes  in 
/  minor,  and  the  first  section  of  the  Coda  is  analogous  to  the  retransition;  a  later 
section  re-states  the  Codetta  to  the  Prin.  Theme,  which  was  omitted  in  the  Recapitu- 
lation. Compare  par.  185,  "Dislocation  of  the  structural  factors." 

Schubert,  pfte.  Sonata,  No.  7,  op.  164,  last  movement.  The  modulatory  design 
is  irregular,  as  follows: 

Prin.  Theme,  a  minor,  Two-Part  form,  dissolved. 

Subord.  Theme,  D  major,  phrase-group,  with  elaborate  Codetta  (in  E  major), 
duplicated. 

No  retransition,  but  an  abrupt  resumption  of  the  Prin.  Theme,  transposed  to 
e  minor;  (review  par.  124). 

Subord.  Theme,  G  major,  as  before,  —  the  Codetta  in  A  major. 

The  first  section  of  the  Coda  is  a  partial  statement  of  the  Prin.  Theme  (Part  I). 
Comp.  par.  181. 

Schubert,  pfte.  Sonata,  No.  2,  op.  53,  Andante  con  moto:  Prin.  Theme,  large 
Three-Part  form;  no  transition;  Subord.  Theme,  also  broad  Three-Part  form;  retrans- 
ition, nine  measures;  hi  the  Recapitulation,  the  Third  Part  of  the  Prin.  Theme  is  trans- 
posed, in  direct  preparation  for  the  transposition  of  the  Subord.  Theme;  the  first 
section  of  the  Coda  is  a  partial  statement  of  the  principal  member  of  the  Prin.  Theme. 

Schubert,  Unfinished  Symphony,  b  minor,  Andante  con  moto:  The  Subord.  Theme 
is  greatly  extended,  and  doses  in  the  (remote)  key  of  C  major;  the  retransition 
(12  measures)  is  a  very  effective  expansion  of  the  E  of  this  C  major  chord,  as  tonic  of 
the  succeeding  Prin.  Theme  (E  major). 


160  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  140. 

Mozart,  Sonata,  No.  7  (Schirmer  edition),  Adagio;  Retransition,  one  measure 
of  "bi'idglug"  ulllyj  no  CUda. 

dementi,  "Gradus  ad  Parnassum"  (Schirmer's  compl.  edition),  No.  35  (orig. 
ed.  No.  u).  —  No.  19  (orig.  ed.  36);  the  Prin.  Theme  transposed  to  the  opposite 
mode,  in  the  Recapitulation.  —  No.  24  (44). 

Mendelssohn,  Presto  agitato  in  b  minor  for  the  pfte.  (preceded  by  an  Andante 
cantabile  in  Three-Part  form).  An  illustration  of  the  breadth  which  the  Sonatina- 
form  may  assume,  quite  irrespective  of  its  diminutive  title:  A  4-measure  Introduction 
(par.  178)  precedes  the  Prin.  Theme;  the  latter  is  in  Three-Part  form,  with  complete 
tonic  cadence,  followed  by  an  independent  Transition-phrase,  duplicated  and  dis- 
solved as  usual;  Subord.  Theme  (A  major  and  /-sharp  minor),  Two-Part  form, 
broad;  Codetta  I,  18  measures;  Codetta  II,  8  measures  (duplication  dissolved); 
retransition,  4  measures;  Recapitulation,  a  somewhat  extended  recurrence  of  the 
Exposition;  the  final  phrase  of  the  second  Codetta  is  dissolved  into  the  Coda,  the 
first  section  of  which  presents  the  first  (brief)  member  of  the  Prin.  Theme,  greatly 
spun  out;  the  following  two  sections  are  brilliant  and  effective.  Analyze  care- 
fully. 

Mendelssohn,  Symphony,  No.  3  (a  minor),  Adagio;  Introduction,  9  measures; 
Prin.  Theme  (A  major),  double-period,  with  Codetta;  no  transition;  Subord. 
Theme  (a  minor  and  E  major),  a  Two-Part  form,  the  second  Part  very  similar  to  tfie 
second  Period  of  the  Prin.  Theme;  the  retransition  is  rather  long  —  fifteen  measures 
—  but  unmistakably  retransitional  in  character;  Recapitulation  fairly  exact;  very 
brief  Coda. 

Mendelssohn,  Symphony,  No.  4  (A  major),  Andante  con  moto:  Introduction, 
3  measures;  Prin.  Theme  very  broad  —  Three-Part  form  with  all  the  repetitions, 
and  a  Codetta,  duplicated  and  dissolved,  as  usual;  the  retransition  covers  two 
measureSj  derived  from  the  Introduction;  in  the  Recapitulation,  the  Prin.  Theme  is 
intimated  only,  by  a  fragment  of  its  initial  Part,  transposed,  but  spun  out  into  a  trans- 
ition; the  Coda  consists  chiefly  of  a  statement  —  effectively  extended  —  of  the 
foregoing  Codetta. 

Mendelssohn,  'Cello  Sonata,  No.  2,  op.  58,  Allegretto  scherzando;  broad,  but 
regular.  —  The  same  Sonata  (op.  58),  last  movement:  Another  example  of  extreme 
breadth  which  the  Sonatina-form  may  assume;  the  Prin.  Th.  is  preceded  by  a  lengthy 
Introduction  (see  par.  178);  the  Subord.  Theme  is  large  Two-Part  form,  with  two 
fairly  long  Codettas  (letters  "F"  and  "G");  the  retransition  (letter  "H")  is  19 
measures  in  length;  the  Coda  (letter  "P")  is  proportionately  long. 

Such  broad  dimensions,  though  somewhat  unusual,  are  by  no  means 
incompatible  with  the  Sonatina  design.  Since  the  distinction  between 
the  latter  and  the  Sonata-allegro  form  rests  solely  with  the  presence 
or  absence  of  a  genuine  Development,  it  follows  that  the  omission  of 
the  latter,  done,  may  not  prevent  the  employment  of  large  and  im- 
portant Themes. 

Two  unusually  concise  examples,  on  the  other  hand: 


Par.  141.  THE  SONATINA-FORM.  l6l 

Beethoven,  Sonata,  op.  8ia,  Andante  ("1'Absence"):  Prin.  Theme,  c  minor, 
a  group  of  four  phrases  (measures  1-14);  Subord.  Theme  (G  major),  an  extended 
phrase  (measures  15-20);  no  retransition;  in  the  Recapitulation,  the  Prin.  Theme, 
beginning  at  its  second  phrase,  is  transposed  to  /  minor  and  other  keys  (measures 
21-30);  Subord.  Theme  (F  major  —  measures  31-36);  Codetta,  six  transitional 
measures,  leading  into  the  next  movement. 

Mendelssohn,  Andante  canlabile  in  B-flat  major,  pfte.:  Introduction,  three  meas- 
ures; Prin.  Theme,  period,  dissolved;  Subord.  Theme,  single  phrase,  meas.  12-16; 
Codetta,  to  meas.  20;  retransition,  two  measures;  Recapitulation  regular;  final 
Codetta,  two  measures. 

Further:  Schubert,  Mass  in  A  -flat,  Kyrie:  The  Prin.  Theme,  in  2-Part  form,  is 
built  upon  the  text  "Kyrie  eleison";  the  Sub.  Theme,  a  phrase-group  with  Codetta, 
on  the  text  "Christe  eleison";  the  retransition  (orchestra  alone)  is  five  measures 
long.  —  See  also,  in  the  same  Mass,  the  Benedictus,  —  very  similar. 

Brahms,  Symphony,  No.  4,  op.  98,  Andante  (note  the  interesting  treatment  of 
the  Recapitulation).  —  Violin  Sonata,  No.  3,  op.  108,  Adagio  (very  concise,  but 
regular).  —  Horn-Trio,  op.  40,  first  movement.  f 


INTERMEDIATE  GRADE. 

141.  AsJ;he  ^retransitional  materadjji^&ed,  between  .the  Exposition 
and  its  Recapitulation,  gradually  increases  in  length,  and  assumes  a 
more  individual  and  important  character,  the  design  approaches  the 
larger  Sonata-allegro  form;  for  when  trns  intermediate  sentence  be- 
comes of  sufficient  weight  to  create  the  impjression  of  an  independent 
Division,  the  form  has  advanced  from  the  Two-Division  to  the  Three- 
Division  design.  Compare  par.  132.  As  long,  however,  as  the  inser^-. 
tion  (no  matter  how  lengthy  it  may  be)  i§  dearly  only  retransitional  in 
character  and  purpose,  the  form  is  unquestionably 


par.  139- 

About  the  illustrations  referred  to  above,there  can  be  no  doubt.  But 
a  number  of  examples  will  be  encountered,  whose  precise  classifica- 
tion may  appear  difficult  —  not  because  of  concise  form,  or  brevity  of 
Themes  (which  has  little,  if  anything,  to  do  with  the  design),  but  solely 
in  consequence  of  the  indefinite  relative  significance  of  the  intermediate 
"Retransition." 

All  such  questionable  examples  may  be  legitimately  disposed  of  as 
"Intermediate  Grades"  —  between  Sonatina-form  and  Sonata-allegro 
form. 

For  illustration: 


1 62  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  141. 


ffeft 

EXPOSITION 
Prin.  Th. 

1 

«^p.  i       •  •  "m  i 

rtr                                                             1 

^ 

N                            N           •»    • 

1^    1  H»»l  J 

1     J                     m.KIHOVKN,                        -  ^..    .       -         _^L                                                           ^f 

<..  t                    Sonata,  op.  10,  No.  i,  ^*r^                     ^L^                 etc. 
l*\                    last  movement.             p    ^^^^                    p^«^p™       meas.  1-16  p 
1                     See  the  original. 

m   c\*    w_ 

r         ««               r                    (i 

IS 

r  1*                                                 J           P  "t  J  L      J  '  '     I 

-SHI  — 

EEZCE2             •  HJ  • 

Subord.  Th.                                     Codetta  I                                        Codetta  II 

jrjB     ^i 

<v       » 

ail 

yf  h  K       i 

i 

Ifripfr 

j      •  /^ 

VMJ        g  4 

•  •  '   J                   9        -i? 

1 

*    ^  "l^2etc.                                              etc. 
meas.  17-28                                   meas.  28-37 

ff 

•u  /-a                                   r   i   I  i*                               V 

i  —  i          -"•  1 

T«LP    ^1 

EZ3Q               i                     /L 

1    |    , 

Z  f>  h 

I,,-,                    r  9W  v  »  .                        frK, 

P  D 

«   -1  ^                   L                                        ferz? 

S   B  »    i 

-(5J.                 »     »                                                                                               »J    V^  •          w  •• 
(Codetta  III)     *!>                         /^. 

• 

0  b 

^         "P"i        "*~N" 

*2) 

^^*                ^    A                 •   V 

^^  ^  u. 

N*                                    ^                                 ^                                    *«• 

/?T\  ^  I/ 

•121*5       •  U     *            1      *       ^     "* 

Vsl) 

BE 

J/           A             .3.    ^r       LI 
-letc*         -i"               ^                               -»- 

-^-meas.  37-43 

At                                                                                       1^                             r^                              ^                            ^ 

^        |/            |^~\ 

J                 J                   '                 J 

./Y     rt   U 

•J-                           **           ^^            •v»** 

l?T\  ^  I/     ^  —  ^ 

^xTy             )i 

-^-                 -^          -^ 

Intermediate  section    (Retransition)    »-j) 

Or 
/ 

b    ^J'-"i^  L- 

* 

4  J   «                    -•                I'K»  ^« 

f-%*  b     ft 

*  0    /•»                            ^^            ^         wwi  <y 

Z   h  K  •  L 

'~m^                                            ~"  J  U  J  1— 

"     B 

il  •                                                             '  '  B^  •           I 

i                                                  'i 

"first  act"     —     — 

rfcb-I-!!T;-1  >lb>1  Jl  ^^hH^-T^-M 

*£=*  —  IH 

fe^^L 

Wj—&±^M^gJ£ 

fe^^M 

-^ 

- 

»s 

I^HFt: 

—  *  X  —  Hf  *  "  F  *-^ 

rp  £  — 

Par.  141. 


THE  SONATINA-FORM. 


£ 


"second  act"    —    — 

-  -f-     fy 

-  5=  4= 


ZZZZ     ff 


? 


Dominant 


RECAPITULATION 


etc. 


*i)  The  presence  of  Codettas  is,  in  itself,  an  intimation  of  the  larger  design  in 
the  composer's  purpose.  This  third  Codetta,  is,  to  be  sure,  very  brief,  and  might  be 
regarded  as  a  mere  extension  of  the  cadence.  But  it  has  some  thematic  impor- 
tance, and  is  duplicated  at  the  beginning  of  the  Coda  (meas.  21  from  the  end). 

*2)  This  double-bar  is  very  significant,  and,  in  connection  with  the  marks  that 
call  for  a  repetition  of  the  entire  Exposition,  it  is  almost  conclusively  indicative  of 
the  larger,  Sonata-Allegro,  form.  Comp.  par.  144. 

*3)  The  intermediate  sentence  here  is  eleven  measures  long  (about  one-quarter 
of  the  length  of  the  Exposition) ,  and  begins,  at  least,  with  some  evidence  of  indepen- 
dent purpose.  It  weakens,  however,  in  the  fourth  measure,  and  thereafter  is  obvi- 
ously nothing  but  a  genuine  retransition.  The  form  is,  strictly  speaking,  "Sonatina", 
but  with  a  decided  advance  toward  the  Sonata-allegro  design,  as  indicated  by  the 
double-bar,  and  the  decisive  conclusion  of  the  Exposition. 

See  further: 

Beethoven,  Sonata,  op.  49,  No.  2,  first  movement:  The  Exposition  closes  with  a 
double-bar  (and  repetition-marks)  in  meas.  52;  the  intermediate  section  covers 
fourteen  measures,  of  which  only  the  last  four  are  obviously  retransition.  This 
movement,  therefore,  represents  a  still  more  positive  advance  toward  the  larger  de- 
sign. 

Beethoven,  Sonata,  op.  109,  Prestissimo;  The  Exposition  ends  in  meas.  70, 
•urilliout  a  double-bar;  the  intermediate  section  begins  at  once,  with  cadence-elision, 
and  is  35  measures  long  —  just  one-half  the  length  of  the  Exposition;  it  is  a  fairly 
elaborate  polyphonic  (or,  at  least,  imitatory)  development  of  the  bass-part  of  the  first 
phrase  (Prin.  Th.),  and  is  nowhere  —  not  even  at  the  end  —  of  a  distinctly  retransi- 
tional  character.  Therefore,  this  movement  should  be  assigned  to  the  Sonata- 
allegro  forms,  with  some  retrogression  toward  the  smaller  design. 


1 64          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  143. 

Beethoven,  Sonata,  op.  no,  first  movement,  somewhat  similar;  no  double-bar; 
intermediate  section  17  measures  long. 

Beethoven,  Sonata,  op.  106,  Adagio:  Very  broad;  no  double-bar;  intermediate 
section  19  measures,  of  which  the  last  9  or  10  are  distinctly  retransitional,  —  the 
form  is  "Sonatina,"  with  some  advance  toward  the  Sonata-allegro  design. 

Mozart,  pfte.  Sonata.  No.  6  (Schirmer  ed.),  last  movement:  The  Exposition 
ends~witn  a  double-oar;  the  intermediate  KCtfam  i*  30  measures  long,  and  not  at  all 
suggestive  of  retransition;  the  form  is  Sonata-allegro,  slightly  retrogressive.  —  Also, 
pfte.  Sonata,  No.  8  (Schirmer  ed.),  Andante,  —  Sonatina-form,  approaching  the 
larger  design. 


EXERCISE  10. 

A.  A  number  of  examples  of  the  genuine  Sonatina-form,  in  slow  tempo,  and  with 
brief  retransition.    See  N.B.  below. 

B.  Also  one  or  two  examples  in  rapid  tempo,  and  broad  design  —  but  with  gen- 
uine retransition. 

C.  One  example,  with  double-bar  at  the  end  of  the  Exposition,  and  a  somewhat 
independent,  but  not  lengthy,  intermediate  section. 

N.B.  As  usual,  any  instrument,  or  ensemble,  may  be  chosen  for  these  movements: 
pianoforte;  organ;  pfte.  and  Violin,  or  'cello;  pfte.  Trio,  or  Quartet;  String-quartet, 
or  Quintet.  See  Exercise  7,  A,  "N.B."  See  par.  1686. 


CHAPTER  XI. 

THE    SONATA-ALLEGRO   FORM. 

142.  This  term  must  not  be  confounded  with  "Sonata."  It  refers 
to  a  structural  design,  and  not  to  the  conventional  compound  form  of 
™™pqgttilon  hAflnnft  the  Cities  Sonata,  Symphony,  Duo,  Trio,  etc. 

(par.  199). 

It  is  the  design  most  commonly  applied  to  the  first  (allegro)  movement 
of  the  Sonata,  hence  the  term:  Form  of  the  Sonata-allegro,  or  "Sonata- 
allegro  form."  The  term  "Sonata-form"  is  misleading,  and  should 
not  be  used.  Further,  the  title  does  not  imply  that  it  is  used  only  for 
the  Sonata-allegro  movement:  It  may  be  applied  to  any  style  of  com- 
position in  the  larger  form,  and  to  any  tempo  (or  "movement"). 

The  diagram  of  the  Sonata-allegro  form  is  as  follows: 


Par.  143. 


THE  SONATA-ALLEGRO  FORM. 


I65 


Exposition             ; 

Development 

Recapitulation 

Prin.  Th. 

Subord.  Th. 

Co- 

Sectional 

Prin.  Th. 

Sub.  Th. 

Co- 

Any Part- 

Related 

detta. 

form 

As  before 

Transposed 

detta 

form 

key 

One 

(to  prin- 

or 

A 

cipal  key) 

Transition 

more 

Transition 

-5 

Retransition 

(modified) 

$ 

Coda 


(Compare  this  diagram  with  that  of  the  Third  Rondo  form,  par.  no, 
and  note  both  the  similarity  and  the  difference.) 

143.  Note  that  the  Sonata-allegro  form,  like  the  Third  Rondo  form, 
is  another,  and  the  most  refined,  manifestation  of  the  tripartite  struc- 
tural principle.     Compare  par.  in.    It  is  the  most  eminent  and  artistic 
grade  of  the  Three-Part  form/ 

144.  The  double-bar,  at  the  end  of  the  Exposition,  is  characteristic 
of  the  Sonata-allegro  form,  and  is  rarely  omitted.    Its  original  purpose 
—  to  mark  the  customary  repetition  of  the  Exposition  —  is  no  longer 
recognized,  inasmuch  as  this  repetition,  in  the  modern  Sonata  and 
Symphony,  is  considered  needless,  and  is  not  often  insisted  upon.  J3ut 
the  double-bar  hag  fl  rWp*T  Figmfimrr"  It  reinforces  the  impression 


of  a  fully  completed  union  of  the  two  Themes,  thus  confirming  the 
object  of  the  Exposition;  hence  the  almost  invariable  addition  of  one 
or  more  Codettas  to  the  Subord.  Theme,  as  these  serve  to  strengthen 
the  impression  of  finality.  And  this  impression  must  be  assured,  even 
when  the  repetition,  and  the  double-bar  itself,  are  omitted. 

THE  EXPOSITION. 

145.   Review  paragraphs  135-137. 

The  Principal  Theme  must  be  sufficiently  striking  and  attractive  to 
challenge  attention  and  excite  interest.  It  may  be  in  any  style  of  me- 
lodic and  rhythmic  conception,  and  may  reflect  any  emotional  mood; 
may  be  tragic  or  gay,  rapid  or  deliberate,  lyric  or  dramatic.  But  it 


must  be  significant  and  worthy  of  development,  no  matter  how  simple 
in  character^ 

Its  form  is  optional,  and  will  be  determined  chiefly  by  its  normal 
proportion  to  the  proposed  extent  of  the  movement.  The  most  effec- 
tive is  probably  the  Two-Part  form,  as  this  is  less  complete  within 
itself  than  the  Three-Part. 


166          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  146. 

The  first  presentation  of  the  Prin.  Theme  should  be  as  straightforward 
and  unaffected  as  possible.  Us  elaboration  and  development  come 
later,  as  ruling  purpose  of  the  whole  movement.  See  par.  197,  i  to  6. 

See  Schubert,  Unfinished  Symphony;  note  the  simplicity  in  the  announcement 
of  the  Prin.  Theme.  —  Beethoven,  Ninth  Symphony,  Prin.  Theme  of  the  first  move- 
ment. Also  other  Symphonies  of  Beethoven.  —  Brahms,  Second  Symphony,  Prin. 
Theme  of  the  first  and  last  movements.  Also  Prin.  Theme  of  the  First  Symphony, 
last  movement.  These  are  all  models  of  clearness. 

146.  The  transition  into  the  Subordinate  Theme  may  be  effected 
in  the  usual  manner: 

1.  Through    an    independent   Transition-phrase    (which   may   be 
decidedly  individual;   may  possess  genuine  thematic  importance;   and 
may  be  "spun  out,"  through  its  two  "acts,"  to  considerable  length). 
Or, 

2.  By  dissolution  of  the  final  phrase  of  the  Prin.  Theme. 

147.  The  Subordinate  Theme  is  placed  in  some  other  key,  usually 
the  closely  related  domSSHTrff  KlULlve  of  the  originaLkey  —  though 

key  to  be  avoided  for  the 


In  rhythmic  character,  and  mood,  it  should  contrast  effectively 
with  its  companion-Theme.  The  form  is  optional,  but  is  usually 
smaller  (shorter)  than  that  of  the  Prin.  Theme.  (Review  par.  84  and 
Ex.  45.) 

148.  As  implied,  the  addition  of  a  Codetta  is  almost  imperative, 
and  not  infrequently  two,  three,  and  even  more,  Codettas  follow  the 
Subord.  Theme,  generally  decreasing  successively  in  length. 

The  (first)  Codetta  usually  presents  a  marked  contrast,  in  rhythm 
and  style,  to  both  Themes,  and  may  be  thematically  significant;  though 
it  should  not  create  the  impression  of  a  genuine  Theme  (wherefore  the 
epithet  "closing  Theme"  is  not  consistent).  The  contents  may  be 
wholly  new,  or  may  be  derived  (more  or  less  directly)  from  the  Prin. 
Theme  —  or  from  any  foregoing  factor. 

Each  Codetta  is,  as  a  rule,  duplicated;  often  with  considerable 
modification  and  extension.  An  illustration  of  Exposition  will  be  found 
in  Ex.  55. 

(The  student  should,  and  probably  will,  perceive  that  every  detail  in  the  for- 
mation of  the  Exposition  is  so  consistent,  logical,  and  natural,  as  to  be  self-evident, 
and  compel  unquestioned  adoption  as  the  surest  and  simplest  means  of  securing  a 
truly  effective  presentation  of  this  broad  thematic  material.  But  above  all  things 


Par.  149.  THE  SON  AT  A- ALLEGRO  FORM.  167 

he  must  bear  in  mind  that  unlimited  freedom  is  left  to  the  imagination,  in  the  execution 
of  this  design.  No  two  among  a  million  Expositions  need  be  alike,  though  all  follow 
the  fundamental  lines  of  the  design  with  the  same  strictness.) 

149.  The  end  of  the  Exposition  is  usually  indicated  by  the  double- 
bar.  Review  par.  144;  The  various  methods  01  treating  this  "ending ' ' 
may  be  classified  as  follows: 

a.  The  Exposition  may  close  with  a  complete  and  emphatic  tonic 
cadence,  followed  by  the  double-bar,  and  marks  of  repetition. 

See  Beethoven,  Sonata,  op.  2,  No.  i,  first  movement.  —  Sonata,  op.  7,  first 
movement;  op.  10,  No.  i,  first  movement;  op.  14,  No.  2,  first  movement. 

b.  The  double-bar  may  be  attended  by  two  endings,  because  of 
some  slight  change  in  the  rhythmic  condition  upon  proceeding  into  the 
Development. 

Beethoven,  Sonata,  op.  2,  No.  3,  first  movement;  op.  10,  No.  2,  first  movement; 
op.  2,  No.  2,  first  movement. 

Or  the  two  endings  may  indicate  a  (perhaps  slight)  harmonic 
change,  involved  by  the  repetition,  —  as  in  Beethoven,  Sonata,  op. 
13,  first  movement;  and  op.  2,  No.  i,  last  movement. 

c.  Or,  of  the  two  endings,  the  first  may  be  a  brief  "  re  transition" 
back  to  the  beginning  (for  the  repetition),  and  the  second  ending  a 
similar  "transition"  into  the  first  section  of  the  Development. 

Beethoven,  Sonata,  op.  31,  No.  2,  first  movement;  Sonata,  op.  31,  No.  3,  Scherzo 
(four  measures  before  the  double-bar  —  see  Ex.  55) ;  see  also  the  last  movement,  four 
measures  before  the  double-bar.  Also  op.  27,  No.  2,  last  movement,  two  measures 
before  the  double-bar;  op.  28,  first  movement,  four  measures  before  the  double-bar. 

d.  The  final  phrase  of  the  Exposition  may  be  dissolved,  and  led  — 
without  double  ending  —  first  back  to  the  beginning  (for  the  repetition), 
and  then  over  into  the  Development.    This  is  practically  the  same  as  c. 

Beethoven,  Sonata,  op.  10,  No.  3,  first  movement;  op.  14,  No.  i,  first  movement; 
op.  31,  No.  2,  last  movement;  op.  31,  No.  3,  first  movement;  op.  53,  first  movement; 
op.  57,  last  movement. 

e.  More  rarely,  the  repetition  is  omitted,  and,  in  that  case,  the 
double-bar  may  not  (usually  does  not)  appear. 

Beethoven,  Sonata,  op.  10,  No.  3,  Largo  —  light  double-bar  (measure  29)  but  no 
repetition.  —  Sonata,  op.  22,  Adagio;  the  Exposition  ends  in  measure  30,  without 
the  double-bar,  and  is  followed  in  meas.  31  by  the  Development.  (The  first  light 
double-bar,  in  meas.  12,  indicates  the  end  of  Part  I  of  the  Prin.  Theme.)  —  Sonata, 
op.  57,  first  movement;  the  Exposition  ends  in  measure  six  before  the  change  of  sig- 
nature (from  four  flats  to  the  "natural")-  —  Op.  90,  first  movement;  the  Exposi- 
tion closes,  without  double-bar,  in  measure  81.  —  Symphony,  No.  II,  Lar ghetto; 
no  double-bar. 


1  68  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  150. 

THE  DEVELOPMENT. 

150.  The  middle  Division  of  the  Sonata-allegro  form  is  called  a 
"development,"  because  it  is  devoted  to  the  free  manipulation  of  the 
various  thematic  members  of  ihe  ;  Exposition,  with  ^  vjfff  fn  ihr  mnrr" 

icir  resources.  And,  since  this 
is  the  chiel  aim,  all  restraint  which  might  hamper  the  most  effective 
presentation  and  combination  of  the  foregoing  thematic  material,  is 
removed;  the  Development  is  free,  in  every  sense,  —  not  subject  to 
any  of  the  structural  conditions  which  govern  the  Exposition.  Neither 
the  choice  of  material,  the  order  of  presentation,  the  method  of  treat- 
ment (homophonic  or  polyphonic),  nor  the  extent  of  each  successive 
process,  —  none  of  these  matters  are  prescribed,  but  rest  solely  with  the 
judgment  of  the  composer. 

It  is  in  this  very  respect  that  the  Development  constitutes  a  very 
necessary  and  emphatic  contrast  with  the  foregoing  Exposition  and  the 
succeeding  Recapitulation.  While  the  Exposition  demands  some  degree 
of  control  and  regulation,  the  Development  calls  forth  the  untram- 
meled  imagination  and  ingenuity  of  the  writer.  The  Exposition  is  the 
more  or  less  sober  and  judicious  (not  lifeless  or  unimpassioned)  "pre- 
sentation" of  the  various  factors;  the  Development  is  their  illumination 
and  vitalization,  their  shifting  into  more  interesting  positions,  hi  rela- 
tion to  each  other  and  to  the  whole. 

151.  a.  The  form  of  a  Development  is  always  sectional.     (Review 
par.  556,  with  reference  to  the  definition  of  sectional  form.) 

6.  The  number  of  sections  is  optional. 

c.  The  extent,  contents,  and  style  of  each  section,  are  also  optional. 
In  other  words,  any  section  of  the  Development  may  derive  its  material 
from  the  Prin.  Theme,  from  the  Subord.  Theme  —  from  any  melodic 
member  of  either  Theme,  —  from  the  transition,  or  from  the  Codettas. 
The  only  conditions  are,  that  no  Theme  should  appear  i 


form;  and  that  no  member  should  appear  in  the  same  key  as  before  (i.e., 
as  in  the  Exposition).  To  this  natural  rule  there  are  but  very  few 
legitimate  exceptions.  (Comp.  par.  162.)  It  emphasizes  the  impor- 
tant general  principle  that  the  Development,  as  a  whole,  should  avoid 
the  original  key  —  since  the  latter  is  the  proper  domain  of  the  Reca- 
pitulation (and  of  the  Coda,  to  some  extent). 

d.  Further,  one  or  another  of  the  sections  may  be  partly,  or  even 
decidedly,  new.  This,  though  somewhat  less  usual,  is  thoroughly  con- 
sistent with  the  purpose  of  the  Development,  especially  when  the  new 


Par.  152. 


THE  SONATA-ALLEGRO  FORM. 


169 


members  are  analogous,  or  used  in  connection  and  combination  with 
the  essential  ones. 

e.  The  sections  are  frequently  grouped  in  pairs  —  as  duplication 
(especially  as  seauenceY. 

/.  A  section  is  not  likely  to  have  a  complete  cadence,  because  it 
would  arrestnEBg1  very  vital  urgent  quality  of  the  Development.  A 
light  semicadence  is  all  that  marks  the  end  of  a  section,  as  a  rule;  and 
even  that  is  not  necessary,  for  a  change  of  style,  or  exchange  of  thematic 
material,  sufficiently  indicates  where  a  new  section  begins.  In  other 
words,  the  extent  of  a  section  is  denned  by  the  retention  of  the  same 
style,  or  the  same  contents. 

152.  The  ultimate  aim  of  the  Development  is  to  regain  the  original 
key  and  prepare  for  the  Recapitulation.    Therefore,  its  final  section 
(possibly  more  than  one)  is  equivalent  to  the  usual  retransition,  or  to 
the  "second  act"  of  that  process. 

153.  The  best,  and  possibly  the  only,  way  to  master  the  unique  problem  of  effec- 
tive Development  is  to  examine,  minutely,  the  methods  adopted  by  the  great  masters 
of  composition.     Therefore,  dose  scrutiny  of  the  following  illustrations  (in  which 
every  one  of  the  above  details  will  be  verified)  is  extremely  important. 

Compare  the  following  example,  from  Beethoven's  Sonata,  op.  31,  No.  3,  Scherzo, 
with  the  original: 


EXPOSITION 
Prin.  Th.  *i) 


etc.,  to 


170          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  153. 


** 


i« 


poco  ritard. 
fc  fc^        fc 


I  KT— N        S  S         g 

J    1  Z't^lP^iW 


if— g 

^    3-.T 


•J  1 1  qM 


S 


Part  III 


etc.,  to 


Transition 


g 


/ 


ritard. 


,       ,  -  gT^        a.          g. 


Subord.  Th. 
,-£-     Phrase  i 


Phrase  3 
8va.... 


etc. 


H 

J    n  staccato 


Codetta  I 


etc.,  to  ^^^ 

M,^^ N kJv  ^ v-, ,    i  1J        i  .^3-. 


*~r 


•  staccato 


Par.  153. 


THE  SONATA-ALLEGRO  FORM.  171 

(extension) 


^ duplicated 


^^extenaea, 

to    ? 


and 
extended,  staccato 


(Return  to  the  beginning) 


a-Hrt-=—  -p  -=  — 

2  i__^  —  1     i     i         PZ 

nH 

b  b    H  t      4  H  0 

0    H  HA        •   H   • 

-j-j 

j/0<rca/0 

—  J  —  '  —  °  —  J  •- 
*s) 

—  i  —  *r   m   ~  "   •    "  —  i 

t^\  *      W 

i 

"*^    K  K         N                    N 

•—  5-  =1  ST— 

Rep.  of  the  EXPOSITION 


i 


(Transition  into  the 
I  jfa    Development) 


q  9 


staccato 


etc. 


DEVELOPMENT 
Section  I  (6  measures) 


etc. 


Sec.  II  (13  measures) 

tfrr^fr 


Sec.  Ill   (7  meas.) 


172 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  153. 


Sec.  IV  (6  measures) 


etc. 


etc.  to 


Dominant 


Prin.  Th. 


*i)  The  Prin.  Theme  is  a  regular  Three-Part  Song-form. 

*2)  The  Transition-phrase  is  borrowed  directly  from  the  Second  Part  of  the  Prin. 
Theme,  and  suggests  the  intention  of  repeating  Parts  II  and  III  (as  is  legitimate, 
and  not  uncommon.  Homophonic  Forms,  par.  1050).  See  par.  125. 

*3)  The  Subord.  Theme  begins  in  an  unexpected  key  (the  remote  F  major),  but 
passes  over  into  the  usual  dominant  (E-flat  major)  in  the  3d  Phrase.  It,  also,  is 
based  upon  foregoing  material:  The  lower  part  (left  hand)  is  derived  from  the 
Second  Part,  and  the  upper  from  the  bass,  of  the  Prin.  Theme. 

*4)  There  are  two  Codettas,  respectively  two  measures,  and  one  measure,  in 
length,  closely  analogous  to  the  foregoing  thematic  members,  and  each  duplicated. 

*5)  The  treatment  of  the  ending  of  the  Exposition  corroborates  the  method 
explained  in  par.  149*;,  which  see. 

*6)  The  Development  embraces  five  sections  of  various  lengths  (fairly  brief),  the 
thematic  relations  of  which  to  the  members  of  the  Exposition  are  clearly  demon- 
strated: Section  I,  derived  from  the  Prin.  Theme,  very  directly,  but  placed  in  a  different 
key  (see  par.  150^);  Section  II,  from  the  Subord.  Theme;  Section  III,  again  from  the 
Prin.  Theme;  Section  IV,  from  the  last  measure  of  Part  Two  (Prin.  Theme). 


Par.  153.  THE  SON  AT  A- ALLEGRO  FORM.  173 

*7)  Section  IV  was  conducted  to  the  prospective  dominant,  and  it  therefore 
executed  the  "first  act"  of  retransition.  Section  V  is  the  "second  act"  (all  upon 
this  dominant),  and  represents  what  is  usually  called  the  "retransition"  proper. 

See  the  following,  also,  and  note  that  each  of  these  Developments 
must  be  studied  with  close  reference  to  its  foregoing  Exposition,  in  order 
to  be  of  full  benefit: 

Beethoven,  Sonata,  op.  2,  No.  i,  first  movement:  The  Development,  after  the 
double-bar,  contains  six  sections;  Section  I,  7  measures,  is  derived  from  the  Prin. 
Theme;  Sec.  II,  8  measures,  from  the  Subord.  Theme;  Sec.  Ill,  10  measures,  is  a 
sequence  of  section  II,  extended;  Sec.  IV,  8  measures,  grows  out  of  section  III,  and 
leads  to  the  prospective  dominant;  Sec.  V,  12  measures,  is  the  retransition  proper, 
but  is  interrupted  and  followed  by  a  sixth  section  (7  measures),  which  is  another 
phase  of  the  "second  act,"  derived  from  the  second  measure  of  the  Prin.  Theme. 

Sonata,  op.  2,  No.  3,  first  movement:  Sec.  I  of  the  Development,  6  measures,  is 
derived  from  the  last  Codetta  but  one;  Sec.  II,  12  measures,  bears  close  relation  to 
the  Second  Part  of  the  Prin.  Theme,  but  is  a  practically  new  passage,  in  brilliant 
broken  chords;  Sec.  Ill,  4  measures,  is  a  re-statement  of  the  first  phrase  of  the  Prin. 
Theme,  hi  a  different  key,  of  course;  Sec.  IV,  17  measures,  is  a  novel  treatment  of 
the  first  two  measures  of  the  Prin.  Theme,  and  is  spun  out  by  two  sequences,  the  last 
one  extended,  and  led  to  the  prospective  dominant;  Sec.  V,  9  measures,  is  the  re- 
transition,  based  upon  the  initial  figures  of  the  Prin.  Theme. 

Sonata,  op.  22,  first  movement:  Sec.  I  of  the  Development,  2  measures,  corre- 
sponds to  the  last  (fourth)  Codetta;  Sec.  II,  4  measures,  corresponds  to  the  third 
Codetta;  Sec.  Ill,  7  measures,  to  the  second  Codetta.  These  sections,  it  will  be 
seen,  proceed  systematically  back-ward  from  the  double-bar.  Sec.  IV,  10  measures, 
reverts  to  the  third  and  fourth  Codettas,  and  is  a  sequential  group  of  phrases.  Such 
sequential  formation  is  a  natural  and  effective  device  for  the  Development,  for  evident 
reasons.  Sec.  V,  13  measures,  grows  out  of  the  preceding  one,  and  is  a  stirring  pas- 
sage in  harmonic  figuration;  note  the  progression  of  the  lowermost  (bass)  part. 
Sec.  VI,  15  measures,  is  the  retransition,  all  upon  the  dominant. 

Sonata,  op.  53,  first  movement:  Sec.  I  of  the  Development,  4  measures,  grows 
sequentially  out  of  the  last'member  of  the  Codetta;  Sec.  II,  6  measures,  re-states  the 
first  phrase  of  the  Prin.  Theme,  in  a  different  key,  and  extends  it;  Sec.  Ill,  8  meas- 
ures, follows  up  this  extension;  Sec.  IV,  9  measures,  is  a  modified  manipulation  of 
the  same  thematic  member;  Sec.  V,  30  measures,  is  a  long,  sequential,  presentation 
of  the  initial  phrase  of  Part  Two  of  the  Subord.  Theme;  note  the  modulatory  design, 
and  the  manner  in  which  its  last  seven  measures  relax  into,  and  upon,  the  prospective 
dominant;  Sec.  VI,  13  measures,  is  the  retransition,  based  upon  the  fourth  measure 
of  the  Prin.  Theme. 

Sonata,  op.  90,  first  movement:  The  conventional  double-bar  is  omitted;  the 
Exposition  closes  with  measure  81;  the  first  section  of  the  Development  is  an  "inter- 
lude" of  three  measures,  echoing  the  foregoing  cadence;  Sec.  II,  7  measures,  is  de- 
rived directly  from  the  first  phrase  of  the  Prin.  Theme;  Sec.  Ill,  9  measures,  is  based 
upon  the  3rd  measure  (indirectly  upon  measures  21-22)  of  the  Prin.  Theme  —  note 
the  bass-progression;  Sec.  IV,  9  measures,  maintains  the  same  rhythm,  but  is  other- 
wise new;  it  has  the  "leading"  quality  of  a  transition,  as  dominant,  into  the  next 


174          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  153. 

section;  Sec.  V,  20  measures,  is  a  sequential  (or  imitatory)  presentation  of  the  third 
phrase  of  the  Prin.  Theme,  and  its  final  extension  leads  to  the  prospective  dominant; 
Sec.  VI,  14  measures,  is  the  retransition;  it  utilizes  the  dominant  in  bass,  but  as 
tonic  six-four  chord,  throughout  —  thus  exemplifying  the  curious  irregularity  of 
leading  to  the  following  Theme  through  its  tonic.  Compare  par.  j6c.  This  final  sec- 
tion is  a  singularly  ingenious  manipulation  of  the  first  measure  of  the  Prin.  Theme, 
into  which  the  whole  unique  process  finally  merges. 

Beethoven,  Symphony,  No.  4,  first  movement:  The  Prin.  Theme  begins,  after 
an  independent  Introduction,  in  measure  43.  The  first  section  of  the  Development 
(immediately  after  the  double-bar)  is  a  two-measure  extension  of  the  final  Codetta; 
Sec.  II,  16  measures,  is  derived  from  the  initial  measure  of  the  Prin.  Theme;  Sec.  Ill, 
14  measures,  continues  this  figure«as  bass,  against  the  preliminary  notes  (i6ths)  which 
occur  at  the  very  beginning  of  the  Prin.  Theme;  Sec.  IV,  24  measures,  combines  the 
first  4-meas.  phrase  of  the  Prin.  Theme  with  a  new  melodic  (contrapuntal)  member  — 
imitatory;  Sec.  V,  40  measures,  is  a  long,  climactic,  presentation  of  the  first  measure 
of  the  Prin.  Theme,  in  sequential  succession;  Sec.  VI,  8  measures,  is  the  beginning 
of  the  retransition;  it  is  patterned  after  the  final  measure  of  the  independent  Intro- 
duction to  this  movement;  note  that  the  a-sharp  is  the  enharmonic  equivalent  of 
the  tonic,  6-flat;  its  appearance  here  is  an  actual  premonition  of  the  coming  Theme, 
which,  here  again,  is  entered  through  its  tonic;  Sec.  VII,  16  measures,  is  derived  from 
the  second  phrase  of  the  Prin.  Theme;  Sec.  VIII,  32  measures,  is  patterned  after  the 
third  section,  but  with  more  pointed  employment  of  the  "preliminary  tones." 

Schumann,  pfte.  Sonata,  No.  2,  op.  22,  first  movement:  The  first  section  of  the 
Development,  29  measures,  is  a  new  melodic  member,  but  closely  allied  to  the  fore- 
going; its  presentation  is  sequential;  Sec.  II,  16  measures,  is  also  new,  though  related 
in  character  to  the  Subord.  Theme,  —  also  sequential;  Sec.  Ill,  n  measures,  grows 
out  of  the  preceding;  Sec.  IV,  16  measures,  reverts  to  the  initial  member  of  the  Prin. 
Theme,  —  also  sequential,  and  similar  in  rhythmic  treatment  to  all  the  preceding 
sections;  Sec.  V,  8  measures,  is  a  fairly  exact  presentation  of  the  first  phrase  of  the 
Prin.  Theme,  in  a  different  key;  Sec.  VI,  18  measures,  is  also  based  upon  the  first 
phrase  (beginning  in  misleading  proximity  to  the  principal  key),  —  also  sequential, 
and  led  to  the  prospective  dominant,  as  tonic  six-four  chord;  Sec.  VII,  6  measures, 
is  the  retransition  proper. 

Mendelssohn,  Symphony,  No.  3,  a  minor,  first  movement  (Allegro  un  poco  agitato) : 
The  first  section  of  the  Development,  29  measures,  grows  out  of  the  final  (cadence) 
member  of  the  Exposition,  gradually  quickened,  and  with  interspersed  fragments 
of  the  second  measure  of  the  Prin.  Theme;  Sec.  II,  25  measures,  is  based  upon  the 
first  phrase  of  the  Subord.  Theme,  in  sequential  (or  imitatory)  presentation;  Sec.  Ill, 
14  measures,  grows  out  of  section  II;  Sec.  IV,  17  measures,  is  derived  from  the  Second 
Part  of  the  Prin.  Theme;  Sec.  V,  8  measures,  is  a  nearly  exact  recurrence  of  the  first 
phrase  of  the  Codetta;  Sec.  VI,  13  measures,  emerges  out  of  the  preceding  section; 
Sec.  VII,  19  measures,  is  the  retransition  proper. 

Brahms,  Violoncello  Sonata,  No.  i,  op.  38,  first  movement:  The  first  section  of 
the  Development,  16  measures  (beginning  one  measure  after  the  double-bar),  is 
derived  from  the  first  member  of  the  Prin.  Theme  —  compare  minutely  with  the  Ex- 


Par.  153.  THE  SON  AT  A- ALLEGRO  FORM.  175 

position;  Sec.  II,  7  measures,  is  a  more  animated  manipulation  of  the  same  the- 
matic member;  Sec.  Ill,  12  measures,  a  still  more  passionate  presentation,  limited 
to  the  second  measure  of  the  Prin.  Theme;  Sec.  IV,  8  measures,  a  dramatic  recurrence 
of  the  first  period  of  the  Subord.  Theme,  in  a  remote  key;  Sec.  V,  8  measures,  is  a 
duplication  of  the  same  period,  with  complete  change  of  character;  Sec.  VI,  3  meas- 
ures, grows  out  of  the  last  measure  of  the  preceding,  with  accelerated  rhythmic  ac- 
companiment, leading  to  the  prospective  dominant;  Sec.  VII,  17  measures,  is  the 
retransition  proper,  for  which  the  Codetta  is  utilized.  Nothing  could  be  more 
artistic,  masterly,  and  thoroughly  effective  than  this  Development,  with  its  admirable 
continuity,  its  thematic  unity,  and  its  vivid  sequence  of  "moods,"  or  phases  of  normal 
and  vigorous  emotional  life.  Its  careful  study  will  prove  extremely  instructive  to 
the  observant  student. 

Glazounow,  pfte.  Sonata,  No.  2,  op.  75,  first  movement:  There  is  no  "double- 
bar"  at  the  end  of  the  Exposition;  at  the  change  of  signature  from  one  sharp  to  five 
sharps,  the  second  Codetta  is  duplicated;  the  Development  follows  this,  in  meas.  7 
from  the  change  of  signature;  Section  I,  17  measures  (to  next  change  of  signature), 
is  based  upon  the  first  4-measure  phrase  of  the  Prin.  Theme,  in  a  sort  of  diminution, 
and  canonic,  —  later  spun  out  melodically;  Sec.  II,  8  measures,  refers  to  the  second 
4-meas.  phrase  of  the  Prin.  Theme;  Sec.  Ill,  12  measures  (to  next  change  of  signa- 
ture), is  derived,  ingeniously,  from  the  chief  thematic  member  of  the  Prin.  Theme; 
Sec.  IV,  24  measures,  is  a  continuation  and  lengthy  extension  of  the  preceding  section; 
Sec.  V,  19  measures  (to  new  signature  —  2  sharps),  resembles  the  first  section,  but 
is  more  elaborate;  Sec.  VI,  12  measures  (to  one-sharp  signature),  is  the  retransition, 
shifting  from  the  basstone  A  to  the  basstone  C,  which  is  utilized  (as  "second  act") 
as  6th  scale-step  of  the  prin.  key  (e  minor)  —  see  par.  760. 

Schubert,  pfte.  Sonata,  No.  5,  op.  143,  first  movement:  Section  I  of  the  Devel- 
opment, to  measures,  is  derived  from  the  first  and  second  periods  of  the  Prin.  Theme; 
Sec.  II,  13  measures,  is  a  combination  of  the  first  and  third  periods;  Sec.  Ill,  14 
measures,  the  same  material,  with  different  treatment;  Sec.  IV,  17  measures,  utilizes 
the  same  rhythmic  figure,  in  conjunction  with  the  Subord.  Theme;  Sec.  V,  8  measures, 
is  the  retransition. 

Schubert,  pfte.  Trio,  No.  i,  op.  99,  first  movement:  Section  I  of  the  Development, 
8  measures,  closely  resembles  the  Prin.  Theme  (in  the  opposite  mode  of  the  original 
key);  Sec.  II,  19  measures  (including  a  sequential  duplication),  is  similar,  but  more 
elaborate,  and  extended;  Sec.  Ill,  16  measures  (sequential  duplication),  is  based 
upon  the  Subord.  Theme,  with  the  chief  rhythmic  motive  of  the  Prin.  Theme;  Sec. 
IV,  14  measures  (sequential  duplication)  is  similar,  but  more  elaborate  and  vigorous; 
Sec.  V,  6  measures,  utilizes  the  first  member  of  the  Subord.  Theme,  in  diminution; 
Sec.  VI,  12  measures,  is  derived  from  the  Codetta;  Sec.  VII,  the  retransition,  is 
24  measures  long  (including  sequential  duplication),  and  directly  anticipates  (in 
oilier  keys)  the  first  period  of  the  following  Prin.  Theme.  Note  the  modulatory 
design  of  the  whole  Development. 


1/6          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION    Par.  154. 

THE  RECAPITULATION. 

154.    Review  par.  140. 

In  thg_  Sonata-allegro  form,  the  Recapitulation  may  be  simple  and 
fairly^exact,  but  it  is  not  unlikely  to  be  somewhat  more  elaborately 
"modified  than  in  thejSonaSSTroim.  In  compositions  ot  UnPSual 

breadth,  and  especially  where  the  Exposition  is  lengthy,  it  is  not  uncom- 
mon to  abbreviate  the  Prin.  Theme.  As  usual,  the  transition  is  modi- 
fied, in  view  of  the  transposed  location  of  the  Subord.  Theme.  As  a 
rule,  the  conduct  of  the  Recapitulation  —  once  the  Subord.  Theme  is 
reached  —  follows  the  lines  of  the  Exposition  closely,  without  much 
modification  or  abbreviation,  through  the  Codetta  or  Codettas,  which 
here  become  the  threshold  of  the  Coda. 

Compare  the  following  Recapitulation,  from  Beethoven's  Sonata,  op.  31,  No.  3, 
Scherzo,  with  the  original.  See  Ex.  55: 

RECAPITULATION 
Prin.  Theme 


etc.  -'  measures» 
as  before,  to  the 
beginning  of 
Part  III. 


Par.  154. 


THE  SON  AT  A- ALLEGRO  FORM. 
Subord.  Th.      Phrase   i. 


177 

Phrase  3. 

i* 


3bRt±= 


IZPhrase  2.: 
etc.   Sequence 


1 


»4) 


Codetta  I 


Codetta  II 


K 

C^v  *  O  

Orr 

f-f  fi. 

9*^     —  ^tny^ 

j\- 

-N                    -H—  —  ^H  — 

]*—  J    1*   • 

j/dW* 

F 
i/o 

etc.      and           .  . 

^_        extended,  _£f 

•  «                       S- 

staccato 

f  ^\  *       W 

to 

\ 

1  •     [/  n             0                   9 

p          p 

V                                   j  J               *1 

•*  h  b    N-  1  !  '  •   i 

—  1 

CODA 


m 


i    i    i 


^-^j 


^ 


etc.,  4  measures,  ^J 

to 


^ 


/     f    ?'4: 


S 


f 


178  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  155. 

*i)  Parts  I  and  II  of  the  Prin.  Theme  are  stated  exactly  as  in  the  Exposition; 
the  Third  Part,  here,  is  slightly  modified  —  compare  the  original. 

*a)  The  transition  is  also  exactly  as  before,  entirely  without  regard  to  the  coming 
transposition  of  the  Subord.  Theme. 

*3)  The  shift  of  key  is  made  abruptly;  Phrase  i  of  the  Subord.  Theme  is,  at 
first,  one  step  higher  than  in  the  Exposition,  but  its  conduct  is  so  modified  as  to  lead 
to-  the  proper  key  at  the  beginning  of  the  second  phrase  —  which,  in  other  words, 
is  a  fifth  lower  (or  fourth  higher)  than  before. 

*4)  The  third  phrase,  and  both  Codettas,  are  reproduced  precisely  as  before, 
but  in  the  principal  key. 

*5)  The  Coda  is  very  brief  —  one  section  only  —  and  consists  mainly  in  the 
extension  of  the  final  Codetta. 

The  student  should  continue  the  analysis  of  every  movement  given 
in  par.  153,  carefully  comparing  the  Recapitulation,  in  each  case,  with 
the  Exposition.  Such  analysis  is  of  the  utmost  value,  and  should  be 
pursued  thoroughly,  persistently  and  patiently.  No  further  directions 
are  required.  The  student  must  have  so  trained  his  faculty  of  obser- 
vation, by  this  time,  as  to  recognize  and  follow  without  effort  every 
impulse  —  mental  and  emotional  —  of  the  composer. 

THE  CODA. 

155.  The  Coda,  in  a  Sonata-allegro  form,  does  not  differ  from  that 
of  the  foregoing  larger  forms,  as  a  rule.  But  it  sometimes  assumes 
greater  significance,  and  mav  b-£_soni£ffihM,jnQr£--£laJx!ratel  than  in  the 
Kondos  or  Sonatina-form.  Its  purposes  are:  To  round  off  the  form, 

r         rr  ^^^^^^^BM^^^—fB^^—^H^^ 

by  taking  up  any  jpose  thematic  ends  that  may  seem  to  be  unfinished;^ 
to  establish  more  perfect  balance  in  tne  proportions  of  the  Divisions; 

createaJTa^HiEon^climaS.  flf  tfl  brbvide 
a  brilliant  finish.  Its  most  n 
ever,  to  converge  uie  .yfople  d 
confirm  the  latter,  as  ultimate  aim ;  hence  the  very  common,  and  usually 
Very  Mlaflte\i, 'inclination  iiitotlie  Isubdominant  keys.  Review,  carefully, 
par.  93. 

In  Beethoren,  Sonata,  op.  22,  first  movement,  the  Coda  is  omitted  altogether, 
the  Recapitulation  closing  exactly  as  the  Exposition  does.  —  Sonata,  op.  2,  No.  2, 
first  movement,  the  same.  —  Sonata,  op.  2,  No.  i,  first  movement;  the  Coda  (last 
six  measures)  is  an  extension  of  the  final  Codetta.  —  Sonata,  op.  10,  No.  i,  first 
movement;  the  "Coda"  (last  two  measures)  is  nothing  more  than  two  vigorous 
cadence-chords,  added  to  the  final  Codetta.  —  Sonata,  op.  14,  No.  2,  first  movement; 
the  Coda  (last  13  measures),  one  phrase,  duplicated  and  extended,  is  a  parting  glance 
at  the  Prin.  Theme,  with  positive  subdominant  infusion  (quasi  "plagal"  in  general 


Par.  156.  THE  SONATA-ALLEGRO  FORM.  179 

effect).  —  Sonata,  op.  27,  No.  2,  last  movement;  the  Coda  (last  43  measures)  is 
typical;  it  reviews,  in  a  very  masterly  manner,  the  contrasting  emotional  phases  of 
the  preceding  Divisions,  and  emphasizes  them  with  additional  brief  but  powerful 
climaxes.  —  Sonata,  op.  31,  No.  i,  first  movement;  the  Coda  (last  46  measures)  is 
derived  wholly  from  the  principal  thematic  member;  it  begins  like  the  Develop- 
ment, and  in  the  same  key,  but  is,  as  a  whole,  nothing  more  than  an  exposition  of 
the  dominant  and  tonic  chords  —  the  elements  of  the  perfect  cadence.  —  Sonata, 
op.  31,  No.  2,  first  movement;  the  "Coda"  (last  10  measures)  is  merely  an  expansion 
of  the  final  tonic  chord.  —  Sonata,  op.  7,  first  movement;  the  Coda  (last  50  meas- 
ures) contains  four  sections,  which  utilize,  successively,  the  Subord.  Theme,  the  last 
Codetta,  and  the  first  member  of  the  Prin.  Theme.  —  Sonata,  op.  10,  No.  3,  first 
movement;  there  are  six  brief  sections  in  the  Coda  (last  50  measures);  Section  I  is 
an  extension  of  the  last  Codetta  but  one,  down  into  the  subdominant  key;  Sections  II 
and  III  follow  the  design  of  the  final  Codetta;  Section  IV  grows  out  of  the  preceding; 
Sec.  V  refers  to  the  thematic  motive  of  the  Prin.  Theme;  Sec.  VI  is  similar,  but  new 
in  treatment. 


156.  It  is  possible  for  fhg  Coda.  with  Its  ClltifS 
tural  constraint,  to  assume  the  proportions  and  the  character  of  a 
""  second  Development"  •  —  following,  perhaps,  the  condiuz'r'oitBnBM? 
going  Development  proper,  more  or  less  closely.  This  is  particularly 
likely  to  happen  in  very  broad  Sonata-allegro  forms  (chamber-music, 
and  symphonies). 

See  Beethoven,  Sonata,  op.  8iA,  first  Allegro;  The  Coda  Oast  98  measures) 
embraces  five  sections;  the  first  one  (23  measures),  which  begins  similar  to  the  Devel- 
opment, is  a  frank  re-statement  of  the  first  period  of  the  Prin.  Theme,  in  related  keys, 
extended;  the  remaining  sections  are  four  different  (quasi  polyphonic)  manipulations 
of  the  basic  motive  which  appears  in  the  Introduction  (compare  par.  166).  —  Sonata, 
°P-  S3.  nrst  movement;  the  Coda  covers  the  last  57  measures,  and  contains  five 
well-marked  sections;  it  begins  like  the  Development,  and  maintains  the  "develop- 
ment" character  persistently;  Section  IV  is  a  distinct  statement  of  the  Subord. 
Theme.  —  Violin  Sonata,  op.  30,  No.  2,  first  movement;  the  Exposition  closes  in 
measure  74  (75)  —  without  double-bar;  the  first  section  of  the  Development  is  osten- 
sibly an  additional  Codetta,  which  is  extended  and  "developed,"  in  the  most  genuine 
fashion;  the  Coda  Oast  ^  measures)  begins  in  precisely  the  same  manner,  and,  as  a 
whole,  is  in  dose  analogy  to  the  Development.  —  Violin  Sonata,  op.  23,  first  move- 
ment: The  Development  and  Recapitulation  are  repeated  together,  after  which  there 
is  a  brief  Coda,  patterned  after  the  Development.  —  Violin  Sonata,  op.  12,  No.  a, 
first  movement. 

In  Beethoven,  Symphonies  II  (last  movement),  V  (last  movement),  VII  Oast 
movement),  VIII  (first  movement),  —  and  other  of  Beethoven's  larger  movements, 
this  relation  of  the  Coda  to  the  Development,  either  in  actual  material  or  in  treat- 
ment, is  still  more  evident,  and  intentional. 


l8o          THE  LARGER  FORMS  Of  MUSICAL  COMPOSITION.  Par.  156. 

The  following  examples  of  the  Sonata-allegro  form  are  to  be  analyzed 
very  thoroughly.  Some  of  them  have  been  already  cited,  and  partly 
analyzed.  A  few  trifling  irregularities  will  be  found,  but  they  are 
easily  recognized  and  accounted  for;  and  the  infinite  diversity  of 
treatment,  dictated  by  the  character  of  the  Themes,  but  strictly  within 
the  broad  requirements  of  the  form,  will  prove  both  instructive  and 
stimulating  to  the  observant  student: 

Myzart.  pfte,  Sonata.  No.  12  (Schirmer  edition),  first  movement.  —  Sonata, 
No.  16,  first  movement.  —  Sonata,  No.  17,  Andante.  —  Symphony  in  C  major  ("Ju- 
piter"), first  movement  (second  Codetta  new;  brief  Coda).  —  Same  Symphony, 
last  movement;  largely  polyphonic;  the  Coda  is  a  "Second  Development";  its 
second  section  is  a  quintuple-fugue  exposition,  the  five  subjects  of  which  are  derived 
from  the  Exposition  as  follows:  I,  from  the  Prin.  Theme;  II,  from  the  transition; 
III,  from  the  same,  modified;  IV,  from  the  "second  act"  of  the  transition;  V,  from 
the  Subord.  Theme  (Applied  Counterpoint,  Ex.  182). 

Schubert,  pfte.  Sonata,  No.  i,  first  movement.  —  Sonata,  No.  3,  op.  120,  first 
movement,  (the  Development  and  Recapitulation  are  repealed  together,  after  which  a 
brief  Coda  follows).  —  Sonata,  No.  5,  first  movement.  —  Sonata,  No.  10,  first  move- 
ment (ingenious  retransition).  —  Symphony  in  b  minor  ("Unfinished"),  first  move- 
ment.—  Pfte.  Trio,  No.  2,  op.  100,  first  movement  (very  broad;  seven  Codettas). 

—  Fantasia  in  G,  op.  78,  first  movement  (typical). 

Mendelssohn,  pfte.  Sonata,  op.  6,  first  movement.  —  Symphony  No.  3,  a  minor, 
second  movement.  —  Violoncello  Sonata,  No.  i,  op.  45,  first  movement  (very  broad). 

—  Pfte.  Trio,  No.  i,  op.  49,  first  movement  (very  broad;    no  double-bar;    Subord. 
Theme  more  prevalent  than  the  Prin.  Theme;   the  Coda  contains  a  new,  but  related, 
section  —  assai  animate) . 

Schumann,  Toccata,  op.  7  (chiefly  group-formations,  but  well-defined  Themes; 
Recapitulation  abbreviated;  long  Coda).  —  Sonata,  op.  14,  first  movement  (no 
double-bar;  the  Coda  is  a  genuine  "second  Development,"  —  practically  a  re-state- 
ment of  the  Development  proper).  —  Sonata,  op.  22,  first  movement.  —  Symphony, 
No.  i,  op.  38,  first  movement,  Allegro  molto  vivace  (concise  Exposition;  Development 
sequential;  the  Prin.  Theme,  in  the  Recapitulation,  is  introduced  through  the  tonic, 
instead  of  the  dominant,  and  is  presented  in  augmentation;  the  Coda  contains  a 
wholly  new  section). 

Beethoven,  Sonata,  op.  2,  No.  2,  first  movement  (no  Coda).  —  Sonata,  op.  10, 
No.  i,  first  movement,  (in  the  Recapitulation,  the  Subord.  Theme  is  first  partly  trans- 
posed, and  then  completely  re-stated  in  the  original  key).  —  Sonata,  op.  10,  No.  3, 
first  movement.  —  Sonata,  Op.  22,  Adagio  (small  Subord.  Theme;  no  Coda).  — 
Sonata,  op.  28,  first  movement.  —  Sonata,  op.  31,  No.  2,  first  movement.  —  Same 
Sonata,  last  movement  (the  Coda  contains,  as  second  section,  the  entire  Prin.  Theme). 

—  Sonata,  op.  31,  No.  3,  first  movement  (quaint  retransition).  —  Sonata,  op.  57, 
first  and  last  movements.  —  Sonata,  op.  78,  first  movement  (concise).  —  Sonata, 
op.  106,  first  movement  (very  broad).  —  Violin  Sonata,  op.  12,  No.  i,  first  move- 
ment. —  Violin  Sonata,  op.  12,  No.  3,  first  movement.  —  Violin  Sonata,  op.  24,  first 


Par.  is6.  THE  SONATA-ALLEGRO  FORM.  l8l 

movement.  —  Violin  Sonata,  op.  47,  first  movement,  Presto  (broad).  —  String- 
quartet,  op.  18,  No.  i,  first  movement.  —  String-quartet,  op.  59,  No.  i,  Adagio 
molto  (no  double-bar;  the  Coda  re-states  the  Prin.  Theme,  and  is  then  dissolved,  as 
transition  into  the  next  movement).  —  Symphony,  No.  I,  op.  21,  first  movement, 
Allegro  con  brio.  —  Symphony,  No.  Ill,  op.  55,  first  movement  (very  broad;  the 
long  Development  presents,  in  its  later  course,  a  new  period,  which  reappears  in  the 
Coda).  —  Symphony,  No.  V,  first  movement.  —  Symphony,  No.  VIII,  first  move- 
ment (the  Subord.  Theme,  both  times,  begins  in  an  unusual  key  and  is  then  stated 
in  the  proper  key). 

Brahms,  pfte.  Sonata,  op.  i,  first  movement.  —  Sonata,  op.  2,  first  movement. 
—  Sonata,  op.  5,  first  movement.  —  Nothing  could  be  more  illuminating  and  inspiring 
to  the  serious  student  of  classic  form  than  the  larger  works  of  Brahms ;  therefore 
the  most  thorough  analysis  of  the  following  movements  is  urged  (in  each  case  the 
first  movement,  unless  otherwise  noted):  Violin  Sonatas,  op.  78;  op.  100;  op.  108; 
first  movement  of  each.  —  Violoncello  Sonatas,  op.  38;  op.  99.  —  String-Quartets, 
op.  51,  Nos.  i  and  2;  op.  67. —  String-Quintet,  op.  88.  —  String-Sextets,  op.  18; 
op.  36.  —  Pfte.  Trio,  No.  Ill,  op.  87.  —  Pfte.  Quartet,  No.  2,  op.  26.] 

Dvorak,  Symphony,  "The  New  World,"  first  and  last  movements. 
Rubinstein,  "Ocean"  Symphony,  first  movement. 

Raff,  Symphony,  Im  Walde,  first  movement  (in  the  Exposition,  the  Subord. 
Theme  is  in  the  subdominant  key;  in  the  Recapitulation,  in  the  dominant  key  — 
both  singularly  irregular). 

Glazounow,  pfte.  Sonata,  No.  2,  op.  75,  first  movement.  Also  the  last  movement; 
(at  the  beginning  of  the  Recapitulation,  the  Prin.  Theme  is  announced  as  fugue- 
subject,  and  treated  accordingly).  —  Also  Sonata,  No.  i,  op.  74,  first  movement 
(regular  and  very  clear). 

Maurice  Ravel,  "Sonatina"  in /-sharp  minor;   first  and  last  movements. 

Paul  Dukas,  pfte.  Sonata  in  c-flat  minor;  first  and  second  movements  (regular, 
and  clear). 

Josef  Suk,  Suita,  op.  21,  first  movement. 

Mac  Dowell,  "Tragic"  Sonata  for  pfte.,  op.  45,  first  movement  (with  Independent 
Introduction,  —  par.  178). 


EXERCISE  II. 

A  large  number  of  examples  of  the  ordinary,  regular,  Sonata-allegro  form;  chiefly 
allegro  tempo,  but  also  occasional  experiments  with  Andante  or  even  Adagio;  any 
style  may  be  chosen;  and,  as  usual,  the  movement  may  be  conceived  for  any  instru- 
ment, or  ensemble  of  instruments.  See  par.  197,  i  to  7.  And  par.  i68b. 


182 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  157. 


CHAPTER  XII. 

MINIATURE    SONATA-ALLEGRO,   AS   EXPANDED    THREE- 
PART    SONG-FORM. 

157.  In  the  foregoing  chapters,  the  course  of  structural  evolution 
was  traced  in  progressive  stages  from  the  Song  with  Trio,  through  the 
three  successive  Rondos  and  the  Sonatina-form,  up  to  the  most  perfect 
design  —  the  Sonata-allegro  form. 

But  this  course  converges  with  another,  and  much  more  direct, 
line  of  evolution  —  from  the  Three-Part  Song-Form  itself.  For  the 
Three-Part  Song-form  is  the  exact  prototype  of  the  Sonata-allegro 
form,  and  the  latter  emerges  out  of  the  former  through  the  natural 
and  direct  process  of  growth,  or  general  enlargement.  For  this  reason, 
this  derivation  of  the  Sonata-allegro  form  would  appear  to  be  the  more 
normal,  although  the  longer  line  of  development  is  historically  quite 
as  real,  and  has  supplied  the  composer  with  the  variety  of  interme- 
diate designs. 

158.  The  correspondence  of  the  smallest  and  largest  genuine  tri- 
partite forms  is  illustrated  by  the  following  diagram: 

Three-Part  Song-form. 


Parti 

Part  II 

Part  III 

Statement 

Departure 

Recurrence 

(Return) 

Period-form 

Period,  or 

Period 

(Two  phrases) 

Group-form 

(Codetta) 

Sonata-allegro  form. 


Exposition 

Development 

Recapitulation 

Statement 
Two  Themes 

Departure 
(Return) 
Sectional 
form 

Re-statement 

Two  Themes 
(Coda) 

The  evidence  of  growth  is  exhibited  in  the  disposition  to  separate 
and  expand  the  two  phrases  of  the  First  Part  into  the  two  entire  Themes 


Par.  159. 


MINIATURE  SONATA-ALLEGRO. 


183 


of  the  Exposition.  Hence,  any  sign  of  a  division  of  the  original  unbroken 
First  Part  into  more  than  one  structural  factor  indicates  the  vital  budding 
process  which  is  nature's  method  of  advancing  growth. 

159.  The  incipient  condition  of  this  advance  is  seen  in  those  exam- 
ples of  the  Three-Part  Song-form  in  which  Part  I  is  extended  by  the 
addition  of  a  Codetta  (which,  though  never  so  homogeneous  and  tiny, 
does  represent  a  somewhat  independent  structural  factor). 

See,  first,  Mendelssohn,  Song  without  Words,  No.  7,  which  is  a  genuine  3-Part 
Song-form,  without  the  slightest  hint  of  a  separation  of  the  members  of  the  First 
Part,  but  which  has  the  typical  double-bar,  and  repetitions. 

Then,  Mendelssohn,  Song  without  Words,  No.  39,  in  which  several  fairly  dis- 
tinct signs  of  separation  are  evident:  in  measure  7,  a  symptom  of  "dissolution"; 
in  measure  9,  the  advent  of  a  somewhat  independent  Consequent  phrase  in  a  related 
key  (the  prototype  of  the  Subord.  Theme);  and,  in  measure  13,  a  brief  Codetta, 
duplicated  as  usual.  This  contains,  in  reality,  no  more  thematic  material  than  a 
Song-form  is  entitled  to,  but  it  is  surely  headed  in  the  direction  of  the  Sonata-allegro 
form.  Note  that,  in  the  Third  Part,  the  Consequent  phrase  is  transposed  to  the 
principal  key. 


Fnrtlrar^_R««fhmt«l 


ent  —  very  similar  to  the  pre- 
ceding. Mozart,  Sonata,  No.  9  (Schirmer  ed.),  Menuetto  (without  the  Trio).  A 
decided  advance  is  exhibited  in  Beethoven,  Sonata,  op.  10,  No.  2,  last  movement: 
•luuumtJ  11,-JJ  mpl'tbuit  an  mcipienc  ouooru.  .ilMle1.  JURl  Mil  fulh i n inj,  LutUU 

1*** "| '  i  "  q  f||«tfjpf tip-marl J^i  "i^ipgfltrfgCTprTH^n  the  Third  Part,  only  the 

Codeffa  reappears,  but  transposed,  and  considerably  extended  (as  Coda).  This  is 
still  within  the  domain  of  the  Three-Part  Song-form,  but  is  "overgrown."  The  line 
of  demarcation  is  passed  in  Beethoven,  Sonata,  op.  101,  first  movement,  which  is  a 
Minature  Sonata-allegro  form : 


Ex., 
67. 


£j 

ffg  ?T"  BEETHOVEN, 
V~TT   o     Sonata,  op.  101, 
first  movement. 
See  the  original. 


Prin,  Th.   (Period)   «i) 
Antecedent  Phrase 


r- 


A  major,  V 


1 84          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  159. 

dissolution  —  —  transition 

^^     Consequent  Phrase  ^, 


-r-r- 


'U.1        _  0       0-' 

*  f          f.        I 


-.^       jU.^-  '- 


Subord.   Th.  (2-Part) 
Part  I 


dim. 


i5  3=td: 


a  4-meas. 
etc.  Consequent 
phrase,  to 


41: 


J^    ^y^   =yvj= 


duplication 


scmplice 


^ 


Par.  159- 


MINI  A  TV  RE  SON  A  TA  -A  LLEGRO. 


I85 


i 


extension 

8 


rCr  i»i>  i^^nQF^N^i^-VTr  >j=£ 
i^  i?g^rvr^:>=p^fc^^:-*-l- 


F5 


U — M 


S* 


s 


1  j,  F"*!  1      j  '  *  ^'  1 '  1  1  JT^rU 
O  -O  -*t>  -v-  <>•  -^>  -*bf-  -«t_/ 


slES3 


DEVELOPMENT 


etc.  i 8 
measures,  to 


r  r 


4= 


RECAPITULATION 
Prin.  Th. 


(Consequent   Phrase) 


BE 


J^jj    jjJ^^  r  r    yj    JJ 
gfhf    ir  rT^-^Sr  ^LUK-^^ 


^ 


^¥^4^ 


P 


Subord.  Theme  *4) 

pa 


*i)  The  Principal  Theme  begins  with  the  dominant  harmony,  and  is  concise 
—  only  a  period,  including  the  transition.  The  Subordinate  Theme  (in  the  dominant 
key)  is  longer;  probably  a  Two-Part  form,  or,  at  least,  a  group  of  three  well-defined 
phrases,  the  last  one  (Part  II)  considerably  extended. 


1  86  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  160. 

*2)  There  is  no  double-bar,  but  the  ending  of  the  Exposition  is  unmistakable. 
The  Development  is  20  measures  in  length,  divided  into  two  sections. 

*3)  In  the  Recapitulation,  the  Prin.  Theme  begins  in  the  opposite  mode  (a  minor) 
and  is  contracted  to  a  6-measure  period. 

*4)  From  here  on,  the  Subord.  Theme  and  Codetta  (transposed)  are  reproduced 
almost  exactly  as  before,  after  which  a  Coda  of  18  measures  is  added.  Compare  with 
the  original;  and  compare  the  whole  movement  with  the  diagram  in  par.  158.  This 
movement  might  be  regarded  as  a  Three-Part  Song-form,  but  its  expansion  and  devel- 
opment into  a  broader  and  higher  structural  purpose  cannot  fail  to  be  recognized. 

See,  further: 

Beethoven,  Sonata,  op.  79,  first  movement;  similar,  but  more  obviously  Min- 
iature Sonata-allegro  form.  —  Sonata,  op.  49,  No.  i,  first  movement  (concise  Sonata- 
allegro).  —  Sonata,  op.  2,  No.  i,  first  movement  —  decidedly  Sonata-allegro  form, 
but  concise. 

Schubert,  pfte.  Sonata,  No.  3,  op.  120,  Andante  (Miniature  Sonata-allegro  form). 
Mozart,  pfte.  Sonata,  No.  5  (Schirmer  ed.),  Andante;  and  No.  6,  Adagio. 

Mendelssohn,  Praeludium,  op.  104,  No.  3.  —  Presto  agitato  in  g  minor  (concise 
Sonata-allegro  form). 

The  repetition  of  the  Development  and  Recapitulation  together  (as  in  Beethoven, 
Sonata,  op.  10,  No.  2,  last  movement;  Schubert,  Sonata,  No.  3,  first  movement; 
and  a  few  other  of  the  above  movements)  is  in  keeping  with  the  usual  repetition  of 
the  Second  and  Third  Parts  together,  in  the  3-Part  Song-form  (see  Beethoven,  the 
Minuet-movements  of  the  Sonatas). 


160.  As  has  been  repeatedly  shown,  it  is  not  dimension, 
viduality  of  character,  and  completeness,  even  in  narrow  limits,  that 

jlehne  a  "Thenur"  —  Tlieiefuie  the  bWHUiiCe1  may  be  briet  and  concise, 
and  still  represent  a  genuine  Theme.  This  is  touched  upon  in  par.  85, 
which  review;  and  is  demonstrated  in  some  of  the  examples  for  refer- 
ence at  the  end  of  par.  140  (Beethoven,  Sonata,  op.  SiA,  Andante; 
Sonata,  op.  109,  first  movement). 

161.  In  its  "unfolding,"  the  3-Part  Song-form  may  pursue  another 
course  of  growth,  and  become  a  First  Rondo  form.    This,  however, 
is  far  less  normal  and  genuine,  and  must  be  regarded  as  an  aberration, 
not  to  be  encouraged,  and  easy  to  distinguish  from  the  legitimate 
process  of  evolution.     See,  again,  par.  85,  and  the  references  there  given. 


NOTEWORTHY  VARIETIES  OF  THE  SONATA-ALLEGRO  FORM. 

162.  In  some  cases,  notably  in  the  Sonata-allegro  forms  of  Brahms, 
the  Development  begins  with  a  marked  statement  of  the  Prin.  Theme, 
in  the  original  key,  and  nearly,  or  exactly,  as  at  the  beginning.  (Comp. 


Par.  163.         MINIATURE  SON  AT  A- ALLEGRO.  187 

par.  150  c.)  This  arouses  an  impression  of  the  Rondo  form,  or  of  the 
Sonatina-form,  especially  when  (as  is  not  uncommon)  the  double-bar 
is  omitted.  But  it  is  always  limited  to  the  first  phrase  or  period  of  the 
Prin.  Theme,  and  soon  identifies  itself  as  the  first  Section  of  the  Develop- 
ment.It  is  wholly  justified,  as  an  ingenious  substitute  for  the  tra- 
ditional repetition  of  the  Exposition  —  which  is  precisely  what  it  repre- 
sents, until  it  dissolves  into  the  Development,  thus  serving  a  double  aim. 

This  unusual  method  of  beginning  the  Development  is  encountered  in  Beethoven, 
(moderately,  and,  as  it  were,  tentatively),  in  Sonata,  op.  14,  No.  i,  first  movement; 
—  just  one  measure,  at  the  beginning  of  the  Development,  is  exactly  like  the  first 
measure  of  the  Prin.  Theme  (in  the  same  key),  after  which  the  harmony  is  deflected. 

—  Also  Sonata,  op.  31,  No.  i,  first  movement;  the  first  seven  measures  of  the  Devel- 
opment correspond  exactly  to  those  of  the  Prin.  Theme.  —  Also  Sonata,  op.  31, 
No.  3,  first  movement.    Also  Schumann,  Symphony,  No.  i,  first  Allegro  (brief).— 
In  all  of  these  examples  the  double-bar  is  present,  wherefore  any  misconception  of 
the  form  is  impossible.    In  Beethoven,  Sonata,  op.  10,  No.  i ;  and  op.  14,  No.  2  (first 
movement  of  each),  the  Development  begins  with  the  first  phrase  of  the  Prin. 
Theme,  in  the  opposite  mode  of  the  original  key. 

(It  will  be  remembered,  that,  as  a  rule,  when  the  Development  utilizes  the  Prin. 
Theme  at  the  outset,  it  is  in  a  different  key:  see  Beethoven,  Sonata,  op.  2,  No.  2; 

—  op.  7;  —  op.  28  —  first  movement  of  each.) 

The  method  is  adopted  with  fuller  consciousness,  and  to  a  much  greater  extent,  in 
Brahms,  Symphony,  No.  2,  op.  73,  last  movement:  The  Exposition  ends  in  meas- 
ure 148,  —  without  double-bar;  six  measures  of  retransitional  bridging  follow,  and 
the  Development  begins,  in  measure  155,  precisely  as  the  whole  movement  began; 
practically  the  entire  Development  is  a  manipulation  of  the  members  of  the  Prin. 
Theme.  —  Also,  Symphony,  No.  4,  op.  98,  first  movement:  The  Exposition  closes 
in  measure  137,  without  double-bar;  eight  measures  of  retransitional  bridging  lead 
into  the  Development  (meas.  145),  whose  first  Section  corresponds  exactly  to  the 
beginning  of  the  Exposition.  Note  the  impressive  augmentation  of  the  principal 
thematic  member,  at  the  beginning  of  the  Recapitulation  (measure  247).  —  Also, 
Symphony,  No.  4,  Allegro  giocoso;  The  Development  begins,  as  in  the  above  examples, 
with  a  direct  presentation  of  the  Prin.  Theme  (partial,  of  course,  but  in  the  original 
key);  in  the  Recapitulation,  the  Prin.  Theme  reappears  (13  measures  before  the 
pocomeno  presto)  a  half -step  higher  than  at  first  (i.e.,  transposed),  and  is  presented 
in  a  wholly  different,  more  serious  and  lyric,  mood  from  that  of  the  rest  of  the  move- 
ment.—  Also,  Serenade,  op.  16,  first  movement.  —  I.  Pfte.-Quartet,  op.  25,  first 
movement.  —  II.  String-Quartet,  op.  51,  No.  2,  last  movement.  —  III.  Pfte.  Trio, 
op.  87,  first  movement. 

Beethoven,  Symphony,  No.  2,  last  movement;  the  double-bar  is  omitted.  — 
Also  Symphony,  No.  8,  last  movement;  the  same. 


163.   To  what  structural   irregularity   this  particular  manner  of 
opening  the  Development  may  give  rise,  will  be  shown  in  par.  172. 


188 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  164. 


But  there  is  one  noteworthy  consequence  which  is  in  no  sense  irregular, 
and  manifests  itself  in  a  significant  enlargement  and  enrichment  of  the 
Sonatina-form. 

164.  In  this,  the  Enlarged  Sonatina-form,  there  is  (as  usual)  no 
double-bar;  a  few  measures  of  re  transition  lead  to  the  Recapitulation, 
which  begins,  of  course,  with  the  Principal  Theme.  Thus  far  the  form 
coffe'Spo'rKIs  to  that  variety  of  the  Sonata-allegro  in  which,  as  shown 
above  (par.  162),  the  Development  begins  with  the  first  member  of  the 
Prin.  Theme,  in  the  original  key.  But  in  the  Enlarged  Sonatina-form 
a  much  larger  portion  (often  the  whole)  of  the  Prin.  Theme  is  presented, 
and  spun  out  as  quasi  Development  until  the  Subord.  Theme  appears. 
—  after_which1_as  usual,  trip  rnnrgp  r>f  foe  Exposition  is  closely  followed 
(in  the  original  key),  up  to  the  Coda.  Thus: 


Exposition 

Recapitulation 

Prin.  Th. 

Subord.  Th. 

Prin.  Th. 

Subord.  Th. 

Re- 

Related 
key. 
Codetta 

trans. 

Extended  and 
"  developed  " 

Transposed. 
Codetta 

Coda 


Compare  this  diagram  with  that  hi  par.  133,  and  observe  that  this 
manipulation  greatly  enhances  the  artistic  value  of  the  Sonatina-form, 
and  lends  to  it  a  significance  almost  equal  to  that  of  the  Sonata-allegro 
form  itself  —  all  of  whose  structural  elements  it  contains.  Comparison 
with  the  diagram  in  par.  142  shows  that  it  differs  from  the  Sonata- 
allegro  only  in  the  number  of  its  independent  Divisions  (the  Develop- 
ment and  Recapitulation  being  merged  by  introducing  the  process 
of  Development  during  the  statement  of  the  Prin.  Theme). 

See  Brahms,  Symphony,  No.  i,  op.  68,  last  movement  (Allegro  non  iroppo).  The 
Prin.  Th.  is  a  3-Part  Song-form,  with  a  duplication  of  Parts  II  and  III  (measures 
1-9-1 7-25-33) ;  Part  III  (as  Part  V)  is  dissolved,  and  becomes  transitional  in  meas. 
45;  the  Subordinate  Theme  is  a  2-Part  Song-form  (see  measures  57-71),  the  Second 
Part  leading  without  cadence  into  the  First  Codetta  (measure  87,  duplicated  in  meas. 
95);  the  Second  Codetta  begins  in  meas.  107,  duplicated  in  measure  in.  The 
Exposition  closes  in  meas.  122  —  without  double-bar  (as  usual  in  the  Sonatina-form); 
measures  123-4  are  the  retransition.  The  Recapitulation  begins  in  meas.  125; 
section  I  is  Part  I  of  the  Prin.  Theme;  section  II,  Part  II  of  the  Prin.  Theme  (meas. 
133),  deflected  into  E-flat  major,  and  extended;  section  III  is  based  upon  Part  III 


Par.  164.  ENLARGED  SONATINA-FORM.  189 

of  the  Prin.  Theme,  in  £-flat  major  (meas.  143),  spun  out,  and  infused  with  new 
material;  section  IV  corresponds  exactly  to  Part  V  of  the  Prin.  Theme,  in  the  ori- 
ginal key  —  meas.  159  to  171;  section  V  is  a  "development"  in  character,  utilizing 
the  former  transitional  material;  sec.  VI  (meas.  183)  continues  the  process,  dupli- 
cated hi  meas.  188;  section  VII  (meas.  196)  resumes  the  style  of  section  V;  section 
VIII  (meas.  207)  alludes  strongly  to  the  Prin.  Theme;  section  IX  (meas.  218) 
is  new;  section  X  (meas.  224)  is  the  transition,  quite  different  from  the  former  one, 
into  the  Subord.  Theme  (meas.  240).  From  this  point,  the  course  agrees  exactly 
with  that  of  the  Exposition,  leading  into  the  Coda  in  the  same  manner  as  before 
into  the  Recapitulation. 

Beethoven,  String-quartet,  op.  18,  No.  3,  Andante  con  molo;  very  similar,  but 
more  concise. 

The  structural  plan  of  the  Enlarged  Sonatina-form  is  carried  out 
with  singular  definiteness  of  purpose,  and  in  so  original  and  logical  a 
manner  that  it  seems  to  establish  a  new  and  legitimate  form,  in 

Brahms,  Symphony,  No.  3,  op.  oo,  last  Allegro.  (First  number  the  measures 
up  to  200.) 

The  EXPOSITION: 

A.  First  Antecedent  phrase  (measures  1-4);    ^ 

B.  First  Consequent  phrase  (meas.  5-8);          J  . 

•    .  »       >  Part  I  of  Pnn.  Theme  (/  minor). 

C.  Second  Antecedent  phrase  (meas.  9-13); 

D.  Second  Consequent  phrase  (meas.  14-18);-' 

E.  Part  II  (meas.  19-29); 

F.  Part  III  (meas.  30-35) ;  Dissolution  — 

G.  Sequence,  and  transition  (meas.  36-45); 

H.  Prospective  dominant,  "second  act,"  new  transition-motive  (meas.  46-51); 

/.    Subord.  Theme,  C  major,  Part  I  (meas.  52-61); 

K.   Subord.  Theme,  Part  II  (meas.  62-74); 

L.    Codetta  I,  with  duplication  (meas.  75-95); 

M .  Codetta  II,  extended,  dissolved  as  retransition  (meas.  96-107). 

The  RECAPITULATION  (the  lettered  groups  corresponding  to  the  above) : 

A.  Extended  (meas.  108-113); 

B.  In  augmentation  (meas.  114-119); 

C.  Extended  (meas.  120-129); 

D.  In  augmentation  (meas.  130-133),  and  spun  out  as  "development"  (meas. 
134-148); 

E.  "Developed"  (meas.  140-171); 

F.  Extended  (meas.  172-181); 

G.  Partial  (meas.  182-187); 

H.  As  before,  transposed  (meas.  188-193); 

J.    As  before,  transposed  to  F  major  (meas.  194-203); 

K.  L.  As  before; 

M.  As  before;  dissolved,  again,  but  this  time  into  the  Coda. 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  165. 


See  also: 

Brahms,  Serenade,  op.  u,  last  movement. 

Brahms,  and  Pfte.  quartet,  op.  26,  last  movement. 

Brahms,  ist  String-quartet,  op.  51,  No.  i,  last  movement. 


165.  The  Basic  Motive.  Another  noteworthy  method  of  enrich- 
ing the  resources  and  widening  the  structural  scope  of  the  Sonata- 
allegro  form,  consists  in  adopting  a  sort  of  double  thematic  basis  for  the 
Prin.  Theme,  —  somewhat  after  the  manner  of  the  first  species  of  the 
Double-fugue,  in  which  the  Subject  is  a  dual  quantity,  instead  of  a 
single  thematic  thread.  This  appears  to  be  distinctive  of  the  Sym- 
phony; but  its  application  to  any  Larger  form  seems  feasible. 

Of  these  two  thematic  factors,  the  first  assumes  the  importance  of  a 
Basic  Motive,  which  underlies  the  whole  movement,  or,  at  least,  all  of 
its  more  essential  parts.  It  is  announced  first,  and  alone,  and  may  be  a 
melodic,  or  a  full  harmonic,  motive.  That  it  is  in  no  sense  merely 
introductory  ,~is  proven  at  once  by  the  fact  that  the  initial  member  of 
the  Prin.  Theme,  which  follows  immediately,  is  built  contrapuntalty 
'upon  the  basic 


Ex. 

58.v 


No.  i. 

BRAHMS, 

3?4il  Symphony,  No.  i 
"  first  allegro. 
See  the  original. 


Basic  Motive 


if  *1 

—  __  — 

"*  "1  •  *"     *1 

•-i-i  V  i   • 

E 

- 

Prin.  Theme  (Part  I) 


^T-    -T— A-^ — ^ffr^r 


Par.  165. 


BASIC  MOTIVE. 
(Part  III)  (Prin.  phrase,  expanded) 


191 


_  ,   J 


1 


etc. 


f     if   ^S 


- — f- 


Basic  Motive  (contrary  motion) 


Subord.  Theme 
(Basic  Motive) 


etc. 


|                                         f 

r  • 

i 

2 

L. 

m              J 

1                         L/ 

(derived  from  Prin.  phrase) 


rJ 


^^ 


S^ 


II 


etc.  *i) 


^^ 


s 


T     T  i 

Basic  Motive  (contrary  motion) 


192          TEE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  165. 
No.  2.  Prin.  Theme  (Part  1) 


?_*t:  BRAHMS, 

Symphony,  No.  2, 
first  movement. 


&_ii-  See  the  original.    I 

-ff-  « 


Motive 


Basic  Motive 


&=* 


^ 


-^- 


3= 


Motive 


etc.          Later: 


-st-         :z^- 


I        |      I  ^ 

^IPi 


* 


A- 

.^^__ 


Motive 


Prin.  Theme  (Part  II) 
Motive  (dim.) 


Motive  (augm.) 


etc.         Later: 


etc. 


Motive 


r 
S| 


Later:        /    j/^ato  etc"       Later: 


Par.  165. 


BASIC  MOTIVE. 

Motive 


193 


etc.        Later: 


*H 


V* 

1    - 

^x 

•N 

jlj^  • 

J--J 

d 

jji^  • 

etc.        Later: 


J. 


-* F 


_ir  I  ^> — A 1 — 


etc. 

*2) 


No.  3. 


Prin.  Theme   (Antecedent  phrase) 


3H  BRAHMS, 

Symphony,  No.  3,          .     ,      . 
.    JI   Basic  Motiv 
first  movement.      ,, 

_  See  the  original.  -^  '^,~ 


"£* 


1  *3) 


Basic  Motive 


?:&,- 


(Consequent  phrase) 

ff.f 


^&«  rrlri 


Motive 

i. 


r; 


9^ 


^i»  j^==^ 

•fe^-sqg.    jn—seg.ZZd 

TV  L^^^* 


Isegueu    TIseg 


!rt 


194  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  165. 


fMotive" 


H^  '         i                           1f 

^  * 

1r>  '                  0  '               * 

•? 

etc.          Later  : 


etc.  «4> 


*i)  It  5s  left  to  the  student  to  trace  the  masterly  manipulation  of  both  these 
thematic  threads  through  the  entire  movement,  —  especially  to  note  the  prevalence 
of  the  chromatic  Basic  Motive,  which,  through  all  its  manifold  metamorphoses,  is 
always  recognizable  and  keenly  assertive. 

*a)  In  this  movement,  the  Basic  Motive,  brief  as  it  is,  is  fully  equal  to,  if  not 
superior  to,  the  Prin.  Theme  itself  in  importance,  arid  permeates  the  structure  in  a 
singularly  ingenious  and  vitalizing  manner.  The  student  will  find  inspiration  in 
the  thorough  exploration  of  the  movement,  and  the  (enthusiastic  —  not  cold-blooded) 
analysis  of  its  fabric. 

*3)  For  the  details  of  the  inner  accompaniment,  see  the  original. 

*4)  Here,  again,  the  Basic  Motive  and  the  actual  Principal  Theme  are  so  inti- 
mately interwoven,  that  they  appear  coordinate  in  thematic  significance  and  in  the 
degree  of  attention  which  each  compels.  But  the  student  will  recognize  that  the 


Par.  166. 


BASIC  MOTIVE. 


'95 


former  is  properly  called  the  basic  motive,  for  the  entire  melody  of  the  Prin.  Theme 
is  adjusted  contrapuntally  to  it  (or  derived  contrapuntally  from  it).  Both  are  wholly 
absent,  however,  from  the  Subord.  Theme,  which  presents  a  very  striking  contrast 
in  key,  measure  and  character,  and  provides  the  chief  sections  of  the  Development. 
Again,  the  student  is  urged  to  make  an  exhaustive  study  of  this  masterly  movement, 
and  to  note,  constantly  and  earnestly,  the  manner  and  spirit  in  which  the  structural 
plan  is  executed.  If  these  thematic  devices  were  employed  with  complacent  calcu- 
lation, and  the  lines  drawn  merely  with  clever  technical  ease  —  as  lifeless  arabesques  — 
the  music  would  be  to  some  extent  interesting  and  even  artistic,  but  not  inspiring. 
These  symphonic  movements,  however,  are  vitalized  by  an  emotional  energy  and 
warmth  of  passion  that  is  at  times  almost  overpowering  in  its  intensity;  and  the 
structural  devices  are  applied  in  the  control  of  this  surging  passion,  and  as  the  last  and 
most  eminent  means  of  preserving  the  unity  and  concentration  of  the  whole. 

166.  A  remote  suggestion  of  such  a  double  thematic  basis,  though 
in  a  totally  different  and  less  significant  sense,  may  be  detected  in 
those  larger  forms  with  an  Independent  Introduction  (par.  I7&2),  for 
which,  in  a  few  cases,  a  specific  motive  is  chosen,  and  later  alluded  to 
(in  the  movement  proper) . 

For  example:  Beethoven,  Sonata,  op.  8iA,  first  movement.  The  first  three 
chords  of  the  Introduction  are,  to  a  considerable  extent,  "thematic": 


Introd. 
Adagio 


(Sub.  Th.) 
Allegro 


(Codetta  I) 


etc.        Later ; 


(Codetta  III) 


etc.         Later : 


etc. 


196          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  167. 


(Development) 


(Coda) 


*  -  - 


etc.         Later : 


etc. 


and: 


etc.         and : 


But  though  this  motive  of  the  Introduction  does  appear  in,  and 
almost  pervades,  the  succeeding  Sonata-allegro,  it  is  in  no  sense  as  a 
Basic  motive,  but  more  as  an  auxiliary  thematic  member,  or  companion 
of  the  Principal  Theme  (not  its  contrapuntal  source,  as  in  the  examples 
of  Brahms). 

In  Beethoven,  Sonata,  op.  13,  first  movement,  there  is  also  an  independent  Intro- 
duction, one  of  the  members  of  which  reappears,  very  briefly,  in  measures  4-6,  10-12 
of  the  Development;  and  also  as  "Interlude,"  before  the  Development  (properly 
speaking,  as  first  section  of  the  Development),  and  again  in  the  Coda.  This,  also, 
is  merely  an  incidental  —  not  a  "basic"  —  motive.  In  Beethoven,  Sonata,  op.  78, 
first  movement,  the  brief  introductory  phrase  might  be  expected  to  assume  a  the- 
matic purpose,  but  it  has  no  further  bearing  upon  the  Allegro. 


167.  Transposed  Themes.  The  important  principle  of  Contrast_is 
sometimes  effectively  emphasized  by  the  (as  a  rule  misleading,  and 
therefore  somewhat  hazardous)  practice  of  transposition. 


Par.  168.  TRANSPOSED  THEMES.  197 

a.  This  is  applied  strikingly  to  the  Principal  Theme,  which,  in  the 
Recapitulation,   occasionally   appears  —  at   least   partially  —  uT  some 


In  order  to  comprehend  fully  how  this  may  be  done  without  impair- 
ing the  structural  purpose,  the  student  should  thoroughly  review  par. 
123,  and  especially  par.  124. 

See,  again,  Beethoven,  Sonata,  op.  10,  No.  2,  first  movement:  The  Prin.  Theme, 
at  the  beginning  of  the  Recapitulation  (two-sharp  signature)  is,  for  a  while,  in  D 
major  instead  of  F  major. 

Beethoven,  Sonata,  op.  78,  second  movement  (Sonatina-form,  with  additional 
statement  of  the  Prin.  Theme  at  the  end  —  par.  181)  :  In  the  Recapitulation,  the 
Prin.  Theme  is  presented  in  B  major,  instead  of  /""-sharp  major. 

Brahms,  Symphony,  No.  4,  Allegro  giocoso  (already  cited,  in  par.  162). 

Schubert,  Sonata,  No.  3,  last  movement  (Pr.  Th.  transposed  to  the  sub-dominant 
key). 

Schubert,  Sonata,  No.  6,  first  movement  (the  same). 

Schubert,  Sonata,  No.  7,  first  movement  (the  same).  Last  movement  of  the 
same  Sonata  (Prin.  Th.  transposed  to  the  dominant  key). 

b.  This  modulatory  shifting  process  is  so  frequently  applied  to  the 
Subordinate  Theme  (which  has  often  been  seen  to  choose  its  key  with 
complete  freedom,  and  even  with  disregard  of  the  principle  of  relation 
to  the  principal  key  —  both  in  the  Exposition  and  in  the  Recapitula- 
tion), that  no  further  discussion  or  illustration  is  necessary. 

For  a  particularly  interesting  example,  see  Beethoven,  Symphony,  No.  8,  first 
movement,  and  last  movement:  The  Subord.  Theme  begins,  in  every  case,  in  an 
unexpected  key,  but  (also  in  every  case)  swings  over  into  the  proper  key  after  one 
Period.  See  also  Beethoven,  Sonata,  op.  53,  first  movement.  —  Sonata,  op.  31, 
No.  i,  first  movement.  —  Sonata,  op.  31,  No.  3,  last  movement.  No  other  master 
employs  the  device  of  transposition  quite  so  freely,  or  so  effectively,  as  does  Schubert. 


168.  a.  Polyphony,  in  the  Larger  Forms.  The  use  of  polyphonic 
as  well  as  homophonic  texture,  in  the  execution  of  the  Larger  designs  of 
composition,  as  pointed  out  in  par.  2,  has  been  witnessed  in  many  of 
the  foregoing  examples.  But  there  are  cases  where  the  adoption  of  the 
polyphonic  or  imitatory  style,  and  contrapuntal  treatment  generally, 
is  not  merely  incidental  (or  peculiar  to  the  Development),  but  pervades 
the  Themes  themselves,  and  thus  enters  vitally  into  the  purpose  and 
character  of  the  movement;  and  such  examples  may  be  classed  among 
the  noteworthy  varieties  of  the  Larger  Forms.  For  illustration: 


198  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  168. 

Brahms,  'Cello  Sonata,  op.  38,  last  movement:  As  a  whole,  this  is  a  Double- 
fugue,  in  Sonata-allegro  form  (with  a  Dislocation  —  par.  185);  the  Prin.  Theme  is  a 
fugal  exposition,  chiefly  of  Subject  A;  the  Subordinate  Theme  begins  with  Subject 
B.  —  String-quintet,  op.  88,  last  movement;  an  admirable  example  of  an  elaborate 
Fugue  in  strict  Sonata-allegro  form  (no  double-bar). 

Also,  Beethoven,  String-quartet,  op.  59,  No.  3,  last  movement;  practically  a 
Fugue,  in  Sonata-allegro  form  (no  double-bar).  —  Sonata,  op.  101,  last  movement: 
the  Development  is  an  elaborate  fugato,  upon  the  first  phrase  of  the  Prin.  Theme, 
and  a  general  imitatory  atmosphere  pervades  the  movement;  it  is  not,  however,  a 
Fugue  as  a  whole.  —  Sonata,  op.  no,  last  movement:  This  is,  roughly  speaking,  a 
Sonatina-form;  the  Prin.  Theme  is  a  lyric  Adagio  (with  Introduction  —  par.  178), 
the  "Subord.  Theme"  is  a  Fugue;  in  the  Recapitulation,  the  Fugue,  besides  being 
transposed,  is  manipulated  in  contrary  motion.  —  Mendelssohn,  Sonata,  op.  6,  third 
movement,  is  similar,  excepting  that  here  the  Prin.  Theme  is  fugalo,  and  the  Subord. 
Theme  lyric. 

Other  interesting  examples  of  more  or  less  essentially  polyphonic  character: 

Mozart,  C  major  Symphony,  last  movement  (Quintuple  fugue).  —  Mozart,  Over- 
ture to  Die  Zauberflote.  —  Beethoven,  Symphony,  No.  9,  Scherzo.  —  Sonata,  op.  10, 
No.  2,  last  movement.  —  Ce"sar  Franck, Violin  Sonata  in  A,  last  movement  (canonic 
Prin.  Theme). 

b.  In  this  connection,  attention  may  be  directed  to  the  employment 
of  the  extremely  vital  device  of  Melody  Expansion  in  the  Larger  Forms. 
See,  first,  Homophonic  Forms,  par.  32. 

It  is  analogous  to  the  thematic  modification  known  as  Augmenta- 
tion, but  differs  from  this  in  that  it  is  not  applied  to  the  whole  member, 
bodily,  but  consists  in  expanding  (rhythmically  enlarging  or  lengthen- 
ing) single  tones,  or  tone-groups,  or  repeating  tone-groups,  so  as  to 
"stretch"  the  melodic  phrase,  so  to  speak,  over  a  larger  number  of 
measures. 

As  "Augmentation,"  it  appears  frequently  in  the  music  of  Bach 
and  other  contrapuntists;  also  in  that  of  Haydn  and  Mozart.  As 
"Melody  Expansion"  it  is  suggested,  only,  in  Beethoven;  and  is 
applied  with  more  definite  purpose  in  Mendelssohn  (Homophonic 
Forms,  Example  44).  But  it  was  reserved  for  Brahms  to  make  thor- 
oughly conscious,  vital  and  truly  significant  use  of  Melody  Expansion, 
as  a  practically  new  and  powerful  factor  of  legitimate  structural  develop- 
ment, and  consistent  thematic  derivation. 

For  illustration: 

No.  i.  Allegro  non  troppo 


_  BRAHMS,  Violin-       i    .  i  i  I  I     I    I  I  I         I 

i  Concerto,  op.  77,      ill     I        —r^r  q=tdl  33  EEH:  EE  Hetc. 

- first  movement.    e^'SA  Tj  *  '        *-L^    I  '  r&^3-*- 

"' 


Original  melodic  sentence 


Par.  168. 

Later  form: 


MELODY  EXPANSION. 


199 


- 


i 


•i) 


±-± 


±J: 


i 


etc. 


CTrTrn^l 
P^J-^J-^=H 


-PZ-* 


No.  2. 

gf"  BRAHMS,  Violin - 
Z  Concerto,  second 
movement. 


*2)  meas.  i.  2.  3.  4. 

original  melodic  sentence  (8  measures) 


r7  Tr  i  r  rT  p?  i  frT%  3  r:fag 

i—       -i  -    --^•••t-  i  - 


6. 


Later  form : 
(14  measures) 


*2)    I. 


expanded 


200  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  168. 


expanded 


if:     8va. 


6. 


modified  and  expanded 


•f- 


m 


8.  expanded 

Allegro  vivace 


No.  3. 
fo-  BRAHMS,  'Cello  — cr 


-etc. 


Sonata,  op.  99, 

first  movement.   Meas.  i.  2.  3.  4. 

Original  melodic  sentence  (8  measures) 


a^^Li 


>-s  I    ^ 


[~       |*  |~    Immediate 

duplication,  in 


expanded  form  : 


rrr^M 


Meas.  iV 


(repetition  of  i  and  2) 


^^ 


extension 


4.        expanded 


f  ir  ^ri  i  f-Ftir 
is         R=^= 


etc. 


extension 


Par.  169.  IRREGULAR  FORMS.  2OI 

*i)  In  this  example,  the  expansion  of  the  melodic  sentence  assumes  the  unusual 
form  of  "  imitation,"  —  expansion  in  which  different  voices  participate.  The  prin- 
ciple is  the  same,  of  course.  See  the  original. 

*a)  The  measures  are  numbered,  for  convenient  comparison.  Here  the  process 
of  expansion  is  dearly  exhibited.  See  the  original,  in  order  to  appreciate  the  full 
significance  of  the  harmonic  associations,  in  the  accompaniment. 

*3)  Here,  both  repetition  and  expansion  are  active.    See  the  original. 

Another  illustration  may  be  seen  in  Ex.  58,  No.  i;  Part  III  of  the  Principal 
Theme  is  an  expanded  version  of  Part  I  (involving  repetitions,  also). 


EXERCISE  12. 

A.  Two  or  more  examples  of  the  Miniature  Sonata-allegro  form. 

B.  An  example  of  the  Concise  Sonata-allegro  form  (with  brief,  but  thoroughly 
characteristic,  Themes). 

C.  Two  or  more  examples  of  the  Enlarged  Sonatina-form. 

D.  An  example  of  the  Sonata-allegro  form,  with  Basic  Motive  and  Prin.  Theme. 

E.  An  example  of  the  Sonata-allegro  form,  with  transposition  of  the  Principal 
Theme,  in  the  Recapitulation. 

F.  An  example  of  the  Sonata-allegro  form,  with  polyphonic  treatment. 


CHAPTER  XIII. 

IRREGULAR  FORMS. 

INTRODUCTION. 

169.  a.  It  is  but  natural  that  an  occasional  deviation  from  the 
regular  or  conventional  arrangement  and  treatment  of  the  essential 
factors  of  the  form  should  occur.  These  irregularities  do  not,  however, 
contradict  the  fundamental  principles  of  musical  structure,  but  are  the 
decidedly  rare  exceptions  which  prove  the  rules.  They  contain  nothing 
which  violates  or  obscures  any  of  the  vital  lines  of  the  designs,  since 
then:  object,  dictated  always  by  the  particular  character  of  the  music 
itself,  is  merely  to  lay  more  emphasis  upon  one  or  another  of  the  the- 
matic members,  or  to  provide  more  effective  contrasts  and  better 
balance  of  parts;  in  a  word,  to  obtain  a  more  telling  presentation  of 
the  thematic  material. 

b.  The  student  has  observed  that  the  various  members  and  divi- 
sions of  the  form  are  of  two  distinctly  opposed  kinds: 


202 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  170. 


1.  The  thematic  components  (Prin.  Theme,  Subordinate  Theme, 
and  the  Codettas),  whose  treatment  is  regulated  by  fairly  strict  condi- 
tions; and 

2.  What  might  be  termed  the  episodic  components  (the  Transition, 
Retransition,  the  Development,  and  the  Coda),  which  are  treated  with 
almost  absolute  freedom,  and  conform  to  no  other  law  than  that  im- 
posed by  the  imagination  and  good  judgment. 

170.  A  very  common  general  cause  of  irregularity  is  traceable  to 
the  manner  of  treating  these  "episodic,"  or  free,  factors  of  the  form. 
fpj  examle,  wheq  a  ff}froricl'tl'r'"j  i™"H"J  ^      *>"* 


impetus  of  the  musical  material,  may  expand  into  a  developing  sectjjoiv 
or  whenthe  extension  or  dissolution  of  one  of  the  basic  phrases,  in^erni? 

e  spun  out,  "similarly,  into  a  "development,"  or  into 


an  episodic  division,  or  be  transformed  into  a  new  thematic  member; 
or  when  a  Coda  may  assume  both  unexpected  contents  and  length. 

This  is  quite  as  it  should  be,  for  it  prevents  the  necessary  controlling 
influence  of  the  fundamental  thematic  conditions  from  hampering  the 
equally  necessary  freedom  of  conception  and  expression;  and  it  enables 
the  musical  ideas  themselves  to  define  the  most  appropriate  form  of 
each  part  and  of  the  whole. 

171,  The  Irregularities  may  be  roughly  divided  into  four  classes: 


Exchanges  or  Mixtures  of  the  Thematic 
factors 

Augmentations 
Abbreviations  (omissions) 
Alterations  in  the  order  of  the  thematic 
factors  ("dislocations") 


of  the  regular 
designs. 


EXCHANGES,  OR  MIXTURES. 

i.  THE  RONDO  WITH  DEVELOPMENT. 

172.  The  two  classes  of  Larger  forms  —  Rondo,  and  Sonata- 
allegro —  are  radically  differentiated,  as  has  been  seen;  and  it  is  for 
this  very  reason  that  an  occasional  fusion,  or  exchange,  may  take 
place  between  the  two,  in  a  perfectly  recognizable  (and  therefore  per- 
missible) manner.  Such  a  fusion  occurs,  now  and  then,  in  the  Third 
Rondo  form  (more  rarely  in  the  Second  Rondo),  when  a 
takes  the  place  of  the  Second  Subordinate  Theme. 


Par.  173. 


IRREGULAR  FORMS. 


203 


The  roving,  generally  urgent,  often  polyphonic,  character  of  a 
"Development"  is  so  well-defined  (par.  150)  that  it  cannot  be  con- 
founded with  any  other  factor  of  the  design,  and,  therefore,  its  presence 
(as  irregularity)  in  the  Rondo  cannot  be  mistaken. 

See  Beethoven,  Sonata,  op.  27,  No.  i,  last  movement.  It  is  a  "Third  Rondo, 
with  Development,"  and  has  the  following  design: 


First  Division 

Middle  Div. 

Recapitulation 

*i) 

Prin.  Th. 

V 

/.  Sub.  Th. 

Prin.  Th. 

Develop- 
ment, 
instead  of 
//.  Sub.  Th. 

Prin.  Th. 

I.  Sub.  Th. 
transposed, 
as  usual 

Coda 

*i)  Compare  this  with  the  diagram  in  par.  no.    The  details  are  as  follows: 

Principal  Theme,  £-flat  major,  Part  I  (meas.  i-Si;  Part  II  (meas.  g-i0),  re- 
peated (17-24);  Part  III  (meas.  25 ),  dissolved  (meas.  28),  transition  (29-35); 

I.  Subordinate  Theme,  B-flat  major  (meas.  36-56); 

Codetta  (meas.  56 ),  extended  (to  meas.  72); 

Retransition  (meas.  72-81); 

Principal  Theme,  Parts  I  and  II  (meas.  82-97);  Part  II  duplicated,  as  before, 
but  dissolved  and  led  to  a  cadence  in  G-flat  major  (meas.  98-106); 

Development,  section  I,  polyphonic  (meas.  106-131);  section  II,  extension  (meas. 
132-139)  to  the  prospective  dominant;  section  III,  retransition,  an  ingenious  di- 
gression from  the  dominant,  and  back  to  it  (meas.  140-166); 

Recapitulation  (meas.  167 ),  as  usual.  The  Recapitulation  ends  with  the 

Codetta,  which  is  extended  and  led  to  a  dominant  semicadence;  the  Coda  follows  at 
once,  the  final  da  capo  being  omitted  (but  alluded  to  in  the  final  section). 

173.  It  is  obvious  that  this  thematic  arrangement  elevates  the 
Rondo  form,  and  leads  it  toward  the  Sonata-allegro  form,  of  which  the 
distinctive  feature  is  the  Development.  It  interrupts,  for  a  time,  the 
characteristic  structural  process  of  the  Rondo,  namely:  the  constant 
alternation  of  a  Prin.  Theme  with  various  new  Themes,  —  and  substi- 
tutes the  leading  principle  of  the  Sonata-allegro:  the  elaboration  or 
development  of  the  original  thematic  material.  See  further: 

Beethoven,  Sonata.  QD.  31.  No.  i.  last  movement  (Third  Rondo,  with  Develop- 
menrtnplace  of  the  II.  Subord.  Theme.  The  final  da  capo  is  omitted,  as  such;  but 
the  principal  motive  is  represented  in  the  Coda).  —  Sonata,  op.  90,  last  movement 
(Third  Rondo,  with  Development  —  at  the  change  of  signature;  Recapitulation  com- 
plete). —  String-quartet,  op.  18,  No.  i,  last  movement  (Third  Rondo  form,  with 
elaborate  Development;  the  I.  Subord.  Theme  begins  each  time  a  5th  too  high,  and 
then  drops  into  the  proper  key;  the  last  da  capo  is  merged  in  the  Coda).  —  Pfte. 
Trio,  op.  9,  No.  2,  last  movement  (Third  Rondo,  with  Development;  both  retrans- 


\ 


2O4  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  174. 

itions  lead  to  a  heavy  dominant  chord,  followed,  singularly,  by  a  light  double-bar  — • 
to  mark  the  form;  —  the  final  da  capo  is  omitted,  but  alluded  to  in  the  Coda).  — 

Violin  Sonata,  op.  30,  No.  2,  last  movement  (Third  Rondo,  with  Development). 
—  Violin  Sonata,  op.  30,  No.  3,  last  movement  (a  very  unusual  design  for  a  modern 
sonata-movement,  suggestive  of  the  old-fashioned  Rondeau,  in  which  a  brief  Principal 
phrase  alternates  with  quite  a  number  of  similarly  brief  "  Subordinate  "  phrases.  This 
alternating  process  continues  for  90  measures,  and  is  then  followed  by  a  genuine 
Development,  to  meas.  141,  where  the  Principal  phrases  again  appear,  followed  by  a 
fairly  lengthy  Coda). 

Mozart,  Sonata,  No.ja  (Schirmer  edition),  last  movement  (Second  Rondo,  with 
additional  Development,  as  extension  of- the  second  retransition,  similar  to  par.  174, 
which  see;  the  II.  Subord.  Theme  is  genuine). 

Mendelssohn,  "Midsummer  Night's  Dream,"  Scherzo  (Third  Rondo,  with  De- 
velopment).—  Etude,  op.  104,  No.  5,  F  major,  (Second  Rondo  form,  with  Develop- 
ment). 

Schubert,  Sonata,  No.  9,  A  major,  last  movement  (Third  Rondo,  with  Develop- 
ment. The  'design  is  legitimate  and  clear,  but  is  rendered  extremely  broad  by 
persistent  duplications  —  especially  in  the  I.  Subord.  Theme  —  after  Schubert's 
favorite  manner.  In  the  Recapitulation,  the  Prin.  Theme  is  first  stated,  tenta- 
tively, in  F-sharp  major).  —  Sonata,  No.  10,  B-flat  major,  last  movement  (Third 
Rondo,  with  Development;  also  very  broad  design,  but  perfectly  clear;  the  Prin. 
Theme  has  a  unique  modulatory  beginning,  which  influences  all  the  retransitions; 
three  large  Codettas  follow  the  I.  Subord.  Theme). 

Brahms,  2nd  pfte.  Concerto,  op.  83,  last  movement  (Third  Rondo,  with  Develop- 
ment).—  3rd  pfte.  Trio,  op.  87,  last  movement  (the  same;  Part  I  of  the  Prin.  Th. 
omitted  hi  the  Recapitulation).  —  Serenade,  op.  16,  last  movement  (the  same). 

Beethoven,  Symphony,  No.  3.  Mar  da  funebre  (Second  Roqcfo-  wj{h  JW^Inp- 
meriL,  the  1.  Jubuid.  TlH!fflrtrtPlBWSffieT!e7)TuTopposite  mode;  Part  III  of  the 
Fnn.  Theme  is  transposed,  in  every  instance,  to  the  subdominant  key).  — Symphony, 
No.  7,  Allegretto  (Second  Rondo,  with  Development;  at  the  beginning,  there  are 
three  complete  repetrtit»*-©f-ti»«  PfinrThune,  in- tliif  Coda,  a  portion  of  the  Subord. 
Th.  appears  as  Section  I,  and  the  first  Period  of  the  Prin.  Th.  as  Section  III). 

174.  The  insertion  of  a  Development  has  been  seen  to  occur  chiefly 
in  the  Third  Rondo  form,  and  occasionally  in  the  Second  Rondo.  There 
is  no  apparent  place  for  it  in  the  First  Rondo  form,  because  none  of  the 
thematic  members  could  maintain  its  integrity,  if  replaced  by  a  De- 
velopment. Butjt  is  nevertheless  practicable  to  rrpatp  thp  irr^pregginn 
of  a  "developing"  section,  even  in  the  First  Rondo  form,  by  spinning 
nut  the  retraiftffiaii  fes  intimated  in  par.  170),  after  the  specific  manner 
of  a  Development. 

Sec  Brahms,  Symphony,  No.  2,  op.  73,  Adagio; 
•  Prin.  Theme  (B  major),  3-Part  period  (meas.  1-17); 
f*  Transition-phrase  (meas.  17-27);  "second  act"  (meas.  28-32); 
t? 


Par.  175. 


IRREGULAR  FORMS. 


205 


Subordinate  Theme  (F-sharp  major),  3-Part  form  (measures  33-44); 

Codetta  (meas.  45-49); 

Retransition,  as  fairly  elaborate  "Development"  (meas.  49-67;  there  is  a  curious 
"false  start"  of  the  Prin.  member  in  meas.  65); 

Prin.  Theme,  as  before,  but  modified  (meas.  68-80) ; 

The  Coda  begins  in  meas.  8 1,' precisely  as  the  Transition-phrase  did,  and  reverts, 
briefly,  to  the  "development"  style. 

Also  Brahms,  Ballade,  op.  10,  No.  i  (similar;  the  Subord.  Theme  is  in  the  same 
key,  but  opposite  mode;  it  is  extended  in  the  manner  of  a  Development;  the  Prin. 
Theme,  as  da  capo,  is  abbreviated  to  its  First  Part,  which  is  then  extended  in  lieu  of 
a  Coda). 

175.  The  Third  Rondo  form  with  a  Development  bears  a  misleading 
resemblance   to   that  variety  of  fhp  regular  srma  fa  -Allegro  form   in 
which  the  Development  begins  with  n  pnrt-inl  gtfltfW"*  "f  f *"*.  PrilL- 
Theme  exactly  as  at  the  beginning  of  the  Exposition  (par.  162). 

This  is  best  illustrated  by  a  comparative  diagram: 


First  Division 

Middle  Div. 

Recapitulation 

Prin.  Th. 

I.  Sub.  Th. 

Pr.  Th. 

Development, 

Pr.  Th. 

I.  Sub.  Th. 

Prin.  Th. 

instead  of 

and  Coda 

Retransition 

//.  Sub.  Th. 

\ 

:       Exposition       : 

Development 

Recapitulation 

Coda 

Prin.  Th. 

\ 

Sub.  Th. 

Pr.  Th. 
as  ist 
Section     —  following 
Sections 

Prin.  Th. 

Subord.  Th. 

*i)  Third  Rondo  form,  with  Development  (par.  172). 

*2)  Regular  Sonata-allegro  form,  with  first  member  of  the  Prin.  Th.  as  Section  I 
of  the  Development. 

The  distinction  lies,  of  course,  in  the  purpose  of  the  composer, 
according  to  which  it  must  be  clearly  shown  whether  the  form  is  to  be 
"Rondo"  (exhibiting  the  principle  of  Alternating  Themes),  or  "Sonata- 
allegro"  (Exposition  of  Associated  Themes).  It  will  manifest  itself 
in  the  location  of  the  doub|fr-frp-  «r  of  tty  V»f mry"**fl~l**i*^^Tr*rr— 
the  Divisions  —  as  shown  in  the  diagram.  In  the  presence  of  a  double- 


206  THE  LARGER  FORMS  OP  MUSICAL  COMPOSITION.  Par.  176. 

bar,  there  can  be  no  misconstruction.    In  the  absence  of  a  double-bar, 
the  distinction  depends  nnnn  the,  extent  and  quality  n^  tW  fir£T  rf- 
^Tfansraon  (which  may  support  the  Rondo-impression);   but  also,  and 
HTQbaniilv  o\  the  Prin.  Theme  that  i»  pfp 


point*    If  it  IB  Only  a.  frtxjmi^t    if  will  rl^rlv  nrnvg  tn  HP  nn 

the  first  section  of  a  genuine  Development;  but  if  it  is  a  genuine. and 

_  m  establish  the 

Rondo  form. 

The  difference  is  dearly  exhibited  in  Beethoven,  Sonata,  op.  31,  Xo.  i:  The  first 
movement  is  a  Sonata-allegro  of  the  above  type;  the  last  movement  is  a  Third  Rondo 
with  Development. 


II.  THE  SONATA-ALLEGRO  WITH  A  MIDDLE  THEME  IN,  OR  INSTEAD 
OF,  THE  DEVELOPMENT. 

176.  This  comparatively  unimportant  irregularity  is  the  result 
of  a  slight  concession  of  the  Sonata-allegro  design  to  the  Rondo-prin- 
ciple. It  consists  in  introducing  into  the  Development,  or  partly 
substituting  for  the  latter,  a  more  or  less  new  thematic  episode,  wnich 
may,  in  extreme  cases,  assume  precisely  the  rank  and  effect  of  a  "Second 
Subordinate  Theme,"  and  which,  in  any  case,  interrupts,  or  greatly 
limits,  the  process  of  genu5e*TT3ev'61u'pmMit."  Gumpaia  par.  173, 
wnicTTiinierer^  new  traits,  after  its 

Exposition  is  completed,  instead  of  confining  itself  to  its  own  original 
thematic  members.  The  justification  of  this  treatment  is  pointed  out 
in  par.  15  id,  which  review. 

A  characteristic  example  is  found  in  Beethoven,  Sonata,  op.  2,  No.  i,  last  move- 
ment: After  the  usual  double-bar,  a  wholly  new  thematic  factor  appears  —  instead 
of  the  expected  Development.  This  new  episode,  or  Middle  Theme,  is  a  complete 
3-Part  Song-form,  with  all  the  repetitions,  and  assumes  the  nature  and  significance 
of  an  additional  "Subord.  Theme."  After  it  has  reached  its  full  tonic  cadence,  the 
process  of  "development"  is  begun,  in  the  usual  way,  and  carried  on,  through  the 
retransition,  to  the  return  of  the  Prin.  Theme  (Recapitulation).  See  further: 

T  '  Beethoven,  Sonata,  op.  10,  No.  3,  Largo:  A  light  double-bar  (without  repetition) 
marks  the  end  of  the  Exposition;  instead  of  a  "Development,"  an  entirely  new 
melodic  sentence  is  announced,  which,  with  its  extension,  leads  to  the  Recapitula- 
tion. —  Sonata,  op.  10,  No.  i,  first  movement:  The  Development  begins,  legiti- 
mately, with  a  member  of  the  Prin.  Theme  (in  the  opposite  mode  — 12  measures) ;  the 
following  section  is  a  new  Middle  Theme,  extending  to  the  Recapitulation.  —  Sonata, 
op.  14,  No.  i,  first  movement:  The  first  section  of  the  Development  is  derived  from 


Par.  177. 


IRREGULAR  FORMS. 


207 


the  Prin.  Theme;  the  second  section  is  a  Middle  Theme;  the  third  section  is  the  usual 
retransition. 

Moaart.  Sonata,  No.  16  (Schirmer  edition),  Andante:  With  the  exception  of  the 
first  beat,  the  entire  second  Division  is  a  new  Middle  Theme.    In  Mozart,  Sonatas, 
JNbs.  4,  6,  7,  15,  the  first  movement  of  each,  the  Development  contains  more  or  less 
new  material. 

Schubert,  Sonata,  No.  4,  op.  122,  last  movement  (also  first  movement).  —  Sonata, 
No.  6,  op.  147,  last  movement.  —  In  Sonatas  No.  7  and  8  (first  movement  of  each),  a 
large  section  of  the  Development  is  new. 


Schumann.  Symphony,  No.  2.  op.  61.  Adaelo  ftbjr^  i^wmtmn  :  The  form  is 
concise,  but  legitimate  and  clear;  the  Exposition  ends  in  meas.  62  (without  double- 
bar);  the  12  measures  which  follow  constitute  a  new  thematic  member,  and  lead  to 
the  Recapitulation  (in  measure  74). 

Brahms,  2nd  pfte.  Concerto,  op.  83,  second  movement  (Allegro  appassionato)  :  An 
extremely  interesting  and  powerful,  but  unique,  movement;  a  regular  Exposition 
leads  to  the  usual  double-bar;  a  genuine  Development  follows,  the  third  (or  fourth) 
section  of  which  leads  to  an  unexpected  complete  tonic  cadence  in  the  original  key; 
hereupon  the  signature  changes  (to  two  sharps)  and  a  characteristic  Middle  Theme, 
strongly  suggestive  of  a  "Trio,"  follows  (par.  183);  it  also  has  a  complete  tonic 
cadence,  but  (at  the  change  of  signature,  back  to  one  flat)  is  carried  over  into  a  re- 
transition,  which  leads  into  the  genuine  Recapitulation  (with  the  customary  trans- 
position of  the  Subord.  Theme);  the  Coda  is  brief.  —  See  also,  Brahms'  Rhapsodic 
in  g  minor  (op.  79,  No.  2)  :  Prin.  Theme,  Two-Part  form,  with  an  important  Codetta; 
Sec.  I  of  the  Development  (8  measures)  is  derived  from  the  Prin.  Theme;  Section  II 
is  its  sequence;  Sec.  Ill,  from  the  Codetta;  Sec.  IV  is  new,  and  assumes  the  rank  of 
a  "Middle  Theme";  it  is  in  Two-Part  form,  dissolving  into  the  retransition. 


AUGMENTATIONS. 


177.  An  augmentation   of   any  one  of   the 


from  the  insertion,  or  addition,  of  one  or  rfloje  rnmplptp,  hnt 

structural  factors  — _  not. included,  or  cxpe.rf(;dT  in  the; 
Such  extra  members  ma    annear ...at  IheJieei 


ment. 


178.  Independent  Introduction  or  Coda.  Probably  the  most  com- 
mon augmentation  consists  in  an  independent  Introduction,  placed 
before  the  Exposition. 

a.  This  may  be  brief  and  unessential: 


208  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  178. 

Beethoven,  Sonata,  op.  78,  first  four  measures. —  Mendelssohn,  Caprice,  op.  33, 
No.  2. 

b.  Or  it  may  be  longer:    may  he  ir*  ^ •••••[  c i  <•"•  <"  i-«~»pk>*» 

Two-  or  Three-Part  Song-form;    and  may  possess,  both  in  character 

;ind  contents,  independent  significance. 

c.  In  this  case,  theHtnfroduction  differs,  as  a  rule,  completely  from 
the  movement  proper,  in  style  and  in  tempo  (being  almost  always  much 
slower  —  andante,  or  adagio).    And  it  may  be  either  a  general  means 
of  establishing  the  key,  without  any  thematic  reference  to  the  following 
Allegro: 

Beethoven,  Symphony  No.  i,  first  movement;  Symphony  No.  2,  first  movement. 
In  the  Symphonies,  No.  4  and  No.  7,  there  is  first  a  lengthy  independent  Introduction 
(in  slower  tempo),  and  then  an  additional,  brief,  direct  introductory  phrase  of  a  few 
measures,  in  the  Allegro  tempo.  —  Sonata,  op.  in,  first  movement.  —  Mendelssohn, 
Caprice,  op.  33,  No.  i. 

d.  Or  it  may  be  thematically  related  to,  or  even  constructed  sys- 
tematically upon,  thematic  members  of  the  movement  proper:   " 

Beethoven,  Sonata,  op.  57,  last  movement,  first  19  measures.  —  Brahms,  Sym- 
phony, No.  4,  op.  98,  Andante,  first  four  measures.  —  Symphony,  No.  i,  op.  68, 
first  movement.  —  Pfte.  Sonata,  op.  2,  last  movement. 

In  Beethoven,  Sonata,  op.  13,  and  especially  in  Sonata  op.  8iA,  (first  movement 
of  each),  fragments  of  the  Introduction  recur  during  the  following  Development,  and 
Coda. 

The  final  phrase  of  an  independent  Introduction  is  usually  dissolved 
and  led  to  a  heavy  dominant  ending,  often  considerably  expanded. 
The  key  is,  naturally,  the  same  as  that  of  the  movement  proper. 

In  Brahms,  Symphony,  No.  i,  last  movement,  it  is  in  the  opposite  mode  (c  minor); 
this  introduction  is  constructed  wholly  upon  thematic  members  of  the  following 
Allegro;  it  is  therefore  "independent"  only  in  tempo,  but  wholly  related  in  contents. 
Its  thorough  analysis  will  prove  most  instructive. 

e.  To  some  extent  analogous,  is  the  insertion  of  an  independent 
section  in  the  Coda  —  usually  the  final  section  —  in  contrasting  (usually 
quicker)  tempo.    This,  however,  can  scarcely  be  regarded  as  an  irregu- 
lar augmentation,  since  the  Coda  (like  the  Development)  has  a  right 
to  any  number  of  Sections,  with  any  contents. 

See  Beethoven,  Sonata,  op.  53,  end  of  the  last  movement  (Prestissimo).  —  Sym- 
phony, No.  5,  end  of  the  last  movement  (Presto).  —  Brahms,  Symphony,  No.  3,  end 
of  the  last  movement  (slower  tempo).  —  Mendelssohn,  Symphony,  No.  3  (a  minor), 
end  of  the  last  movement  (slower  tempo).  —  This  factor  is  strikingly  significant  in 
Brahms,  Sonata,  op.  5,  Andante;  the  form  is  First  Rondo,  but  the  independent  Coda 
has  the  appearance  and  importance  of  a  II.  Subord.  Theme,  in  the  subdominant  key. 


Par.  179.  IRREGULAR  FORMS.  2CX) 

179.  Double  Subordinate  Theme.  In  Sonata-allegro  (possibly  also 
in  Rondo)  designs  of  unusual  breadth,  or  conceived  with  a  certain 
exuberance  of  conceptive  imagination,  it  is  sometimes  possible  to 
identify  two  Subordinate  Themes  in  succession  (in  the  Fdfp0*11'^""!  of 
course).  This  is  a  very  rare  augmentation,  and  its  presence  can  be 
verified  only  in  those  cases  where  that  thematic  member  which  corre- 
sponds to  theirs/  Codetta  is  so  elaborate  and  extensive  as  to  claim  atten- 
tion as  a  genuine  Theme.  Such  analysis  seems  reasonable,  and  con- 
venient, in  the  following: 

Beethoven,  Sonata,  op.  2,  No.  3,  first  movement:  Prin.  Theme,  C  major,  Part  I 
(measures  1-13);  Part  II,  dissolved  (meas.  14-23);  transition  (meas.  24-26);  Subor- 
dinate Theme  "A"  (in  g  minor,  dissolved,  meas.  27-43);  transition  (meas.  44-46); 
Subordinate  Theme  "B"  (in  G  major),  Part  I  (meas.  47-61);  Part  II  (corresponding 
to  Part  II  of  the  Prin.  Theme,  meas.  62-77);  Codetta  I  (meas.  78-84);  Codetta  II 
(meas.  85-90);  Double-bar. 

Also  in  Beethoven,  Sonata,  op.  7,  first  movement:  Subordinate  Theme  "A", 
measure  41;  Subordinate  Theme  "B",  meas.  60.  The  latter  (Sub.  Th.  "B")  might 
be  regarded  as  the  First  Codetta,  but  it  has  full  "thematic"  value.  The  real  first 
Codetta  appears  in  meas.  93. 

Still  more  convincing  is  Mozart,  Sonata,  No.  17  (Schirmer  edition),  first  move- 
ment: 

Prin.  Theme,  F  major,  measures  1-31;  Transition-phrase,  duplicated,  and  dis- 
solved into  the  prospective  dominant  (meas.  32-41);  Subordinate  Theme  "A", 
C  major  (meas.  42-57);  Transition-phrase,  duplicated,  and  dissolved,  again,  into  the 
dominant  (meas.  58-66);  Subordinate  Theme  "B",  C  major  (meas.  67-89);  I.  Codetta 
(meas.  89  etc.).  It  is  evident  that  no  other  interpretation  of  this  design  is  so  con- 
sistent as  that  of  an  Augmentation,  consisting  in  the  addition  of  another  Subordinate 
Theme.  And  the  same  condition  is  unmistakably  present  in  Chopin,  e  minor  pfte. 
Concerto,  op.  n,  last  movement:  A  very  broad  Third  Rondo  form,  in  which,  besides 
the  usual  /wWi-insertions,  —  par.  1806,  —  there  is  a  I.  Subordinate  Theme  which 
appears  in  two  wholly  distinct  thematic  divisions:  I.  Subordinate  Theme  "A",  in 
meas.  120,  and  I.  Subordinate  Theme  "B",  in  meas.  171-173,  etc.  These  might,  it 
is  true,  be  regarded  as  the  First  and  Second  Parts,  respectively,  of  one  Subordinate 
Theme;  but  their  radical  difference  in  character  is  much  more  suggestive  of  individual 
Themes. 

A  somewhat  similar  thematic  insertion,  though  of  a  less  common 
type,  occurs  in  Beethoven,  Sonata,  op.  49,  No.  i,  last  movement: 

After  the  Prin.  Theme,  in  complete  (though  Incipient)  Three-Part  Song-form, 
the  transition  leads  to  a  distinctly  independent  thematic  period,  in  the  opposite 
mode  (meas.  20)  —  followed  by  two  measures  of  bridging,  which  lead  to  the  Sub- 
ordinate Theme  proper;  and  the  same  insertion  occurs  again,  slightly  altered,  at  the 
end  of  the  Subord.  Theme,  before  the  retransition.  This  insertion  might  be  called 
an  "Intermediate  motive." 


210  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  180. 

180.  The  Concerto-allegro.  Additions,  or  insertions,  of  a  very  sig- 
nificant and  conspicuous  nature  appear  in  the  various  movements  of 
the  Concerto,  which,  as  a  natural  consequence  of  the  association  of  an 
individual  Solo-part  with  an  equally  vital  orchestral  accompaniment, 
are  almost  invariably  a  positive  augmentation  of  the  usual,  regular, 
designs. 

a.  The  most  noteworthy  of  these  (more  common  in  the  earlier, 
than  in  the  modern,  Concerto),  is  a  preliminary  presentation  of  the 
chief  thematic  material  of  the  Exposition;  not  as  an  Introduction,  but 
as  a  sort  of  pseudo-Exposition,  sometimes  all  in  the  principal  key,  pre- 
ceding the  actual  Exposition. 

It  is  generally  assigned  to  the  orchestra  alone,  as  in  the  first  movement  of  Beet- 
hoven, pfte.  Concertos,  Nos.  i,  and  2  and  3;  and  in  his  Violin  Concerto.  —  Brahms, 
ist  pfte.  Concerto,  op.  15;  and  Violin  Concerto.  —  Mendelssohn,  Violin  Concerto. 

But  the  Solo-instrument  sometimes  participates,  especially  at  the  very  beginning, 
as  in  the  first  movement  of  Beethoven,  pfte.  Concertos,  Nos.  4  and  5.  Brahms,  2nd 
pfte.  Concerto,  op.  83. 

This  introductory  Exposition,  and  the  following  genuine  Exposition, 
represent,  in  a  sense,  the  customary  repetition  of  the  Exposition.  This 
repetition  never  occurs  in  the  Concerto,  and  therefore  the  usual  (heavy) 
double-bar,  with  repetition-marks,  is  invariably  omitted. 

Examine,  thoroughly,  the  beginning  of  Beethoven's  3rd  pfte.  Concerto,  op.  37, 
and  note  the  relation  of  the  introductory  Exposition  to  the  subsequent  genuine  one. 

b.  Besides  this  extra  member,  at  the  outset,  the  Concerto-move- 
ments are  further   augmented   by  fairly  frequent  "tutti"    passages, 
for  the  orchestra  alone;   inserted  —  for  necessary  contrast  —  as  Inter- 
ludes, chiefly  at  the  end  of  the  thematic  statements  in  the  Solo-part 
(between  the  Exposition  and  the  Development;    sometimes  between 
the  Themes;   and  at  the  end  of  the  Recapitulation,  leading  into  the 
Cadenza). 

See  Beethoven,  pfte.  Concerto,  No.  3,  first  movement  (analyze  the  whole  move- 
ment, thoroughly):  Orchestral  Exposition;  regular  Exposition;  "tutti  "-insertion  at 
the  end  of  the  Exposition;  Recapitulation;  "  tutti  "-insertion  and  Cadenza;  Coda. 

Also  the  last  movement  of  Chopin's  e  minor  Concerto  (cited  in  par.  179). 

c.  The  conventional  Cadenza  is  also  a  distinctly  extraneous  inser- 
tion.   It  occurs  at  (or  within)  ^the  cadence-harmony  of  the  Recapitu- 
lation (that  is,  before  the  Coda),  whence  its  name.    The  Cadenza  has, 
as  a  rule,  no  structural  significance,  and  is  therefore  never  essential. 
Its  chiefly  superficial  purpose  is  to  provide  for  the  Solo-performer  a 


Par.  iSi. 


IRREGULAR  FORMS. 


211 


specific  opportunity  to  display  his  technical  dexterity.  But  its  mere 
presence  does,  nevertheless,  exert  an  influence  upon  the  impression  of 
the  whole,  which  cannot  be  ignored;  therefore,  it  is  considered  necessary 
to  mould  it  in  some  degree  of  consistency  with  the  rest  of  the  move- 
ment; to  derive  its  contents  from  foregoing  thematic  members;  and 
to  exercise  fine  artistic  discrimination.  In  many  (older)  concertos,  the 
place  for  the  Cadenza  is  designated,  and  its  achievement  is  then  left 
to  the  Solo-performer,  who  might  even  improvise  its  contents.  The 
wisest  course  is,  no  doubt,  for  the  composer,  if  he  wants  it,  to  incorporate 
his  own  Cadenza,  or  its  equivalent,  into  his  work;  as  in 

Schumann,  pfte.  Concerto  in  a  minor,  first  movement;  Grieg,  pfte.  Concerto  in 
a  minor,  first  movement;  Mendelssohn,  Violin  concerto,  first  movement,  —  and 
others. 

181.  Sonatina-form  with  final  da  capo.  The  Sona.fina-form  is  not 
infrequently  augmented  hv  a.n  a/Mitinnal  "maflat'nn  "f  ttlff  Prin 

T"  the  examples  given  in 


' 


Chap.  X,  an  apparent  extra  da  capo  of  this  kind  was  sometimes  ob- 
served; but  in  the  genuine  Sonatina-form  this  would  be  no  more  than  a 
fragmentary  allusion,  as  first  section  (or  perhaps  some  later  section) 
of  the  Coda. 

(See  again,  for  example,  Beethoven,  Sonata,  op.  10,  No.  i,  Adagio,  in  which  the 
Coda,  measure  22  from  the  end,  begins  with  the  first  phrase  —  only  —  of  the  Prin. 
Theme.  This  is  not  enough  to  constitute  an  augmentation  of  the  formal  design.) 

As  real  au 


nr 


gmentation,  this  final 


mm*  "*p"»«fflit  thf 

in  fhe  original  kevof 


course.  When  it  is,  thus,  an  obvious  recurrence  of  the  Prin.  T 
establishes  a  significant  relation  to  the  Second  Rondo  form  —  from  which 
the  Sonatina-form  differs  (externally)  only  in  that  the  same  Subord. 
Theme  appears  twice,  instead  of  two  different  ones.  Compare  the 
following  diagram  with  that  in  par.  133,  and  with  that  in  par.  97: 


Exposition 

Recapitulation 

Extra 
Member 

Prin.  Th. 

Sub.  Th. 

Prin.  Th. 

Sub.  Th. 

Prin.  Th. 

related 

Re- 

transposed. 

key. 

trans. 

Retransition 

Coda 


See  Beethoven,  Sonata,  op.  78,  last  movement:  The  Prin.  Theme,  at  the  be- 
ginning of  the  Recapitulation,  is  transposed  to  the  subdominant  key,  and  is  ab- 


212          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION,  Par.  i8a. 

breviated;  after  the  Recapitulation,  it  is  stated,  with  evident  purpose,  in  the  proper 
key  (34  measures  from  the  end),  but  somewhat  abbreviated,  and  finally  merged  in  a 
brief  Coda. 

Similar:  Chopin,  Sonata,  op.  58,  b  minor,  last  movement:  Introduction,  8  meas- 
ures; in  the  Recapitulation,  the  Prin.  Th.  is  transposed  to  the  subdominant  key;  it 
reappears,  in  the  original  key,  complete,  before  the  Coda. 

Schubert,  Sonata,  No.  8,  c  minor,  Adagio. 

Mozart,  Sonata,  No.  13  (Schirmer  edition),  Andante;  concise,  but  clear. 

Brahms,  2nd  Pfte.-quartet,  op.  26,  poco  adagio. 

Beethoven,  String-quartet,  op.  18,  No.  6,  last  movement:  Independent  Intro- 
duction; the  reappearance  of  the  Prin.  Theme  after  the  Recapitulation,  both  before 
and  in  the  Coda,  is  persistent. 

Schumann,  Symphony,  No.  3,  op.  97,  third  movement:  The  design  is  unusual,^ 
approaching  the  (iroup-torm;  rim.  Theme,  period  (measures  i-&;  Subord.  Theme, 
(Part  I,  meas.  6-io;^Part  Il^meas.  11-15,  complete  tonic  cadence);   Prin.  Theme 
("Codetta"  in  effect),  with  new"  Consequent  phrase  (meas.  16-21);   Subord.  Theme    r 
(meas.  22,  extended  to  meas.  34)}   Retransition,  one  measure;   Prin.  Theme,  again 
(meas.  36-40);   Coda  to  the  end. 


182.  The  enlargement  of  tte  RrniA*  hv  the  addition^  another 
(foird)  Subordinate  Theme,  must  be  accounted  for  as  an  augmentation 
of  the~fhird  Rondo  form. 


See  par.  lag/^GagEBRTS&ain,  at  Mozart,  Sonata,  No.  8,  last  movement;  and 
No.  17,  last  movement.  —  Beethoven,  Violin  Sonata,  op.  23,  last  movement. 

See  also,  Beethoven,  Rondo  a  capriccio,  op.  129,  which  contains  three  different 
Subordinate  Themes  and  two  complete  Developments. 

183.  Larger  Forms  with  "Trio."  The  "Trio"  is  a  structural 
division  peculiar  to  the  Dance-forms,  and  is  usually  confined  to  the 
Menuet,  March,  Scherzo,  and  related  compositions  of  that  domain. 
Its  presence  in  one  of  the  Larger  forms  may  result  partly  from  a  refine- 
ment of  the  dance-form,  as  shown  in  paragraphs  95  and  96,  whereby 
the  "Trio"  emulates  a  real  Subordinate  Theme.  Or  it  may  occupy 
an  independent  place  in  a  Larger  form,  in  consequence  of  the  enlarge- 
ment of  the  principal  division  (the  first,  or  principal,  Song-form). 

This  is  illustrated  clearly  in  the  Scherzo  of  Beethoven's  gth  symphony:  the  prin- 
cipal division  is  magnified  into  a  complete  Sonata-allegro  form  (as  indicated  in 
paragraphs  157,  158);  wherefore,  the  form  of  the  entire  Scherzo  must  be  defined  as  a 
"Sonata-allegro  with  Trio." 

See  also  Mozart,  Sonata,  No.  9  (Schirmer  ed.),  Menuetto  —  already  cited  in  par. 
159;  the  "Menuetto"  is  a  Miniature  Sonata-allegro,  and  to  this  is  added  the  usual 
"Trio"  (and  da  capo).  —  The  ist  Rhapsodic  of  Brahms  (op.  79,  No.  i)  is  similar, 


Par.  184. 


IRREGULAR  FORMS. 


213 


though  less  pronounced;  the  principal  division  is  a  broad  Three-Part  Song- form; 
Part  I  has  two  Codettas,  and  is  repeated;  Part  II  is  sectional;  Part  III  is  extended, 
but  without  the  two  Codettas;  and  to  this  Principal  Song-form  a  "Trio"  is  added. 

Brahms,  2nd  'Cello  Sonata,  op.  99,  Allegro  passionate,  is  a  First  Rondo  form, 
with  "Trio." 

Beethoven,  3rd  'Cello  Sonata,  op.  69,  Scherzo,  —  a  First  Rondo  form,  with  "Trio"; 
the  "Trio"  and  da  capo  repeated. 

Mendelssohn,  Trio,  op.  66,  Scherzo,  —  a  Sonatina-form,  with  "Trio";  the  da 
capo  is  so  abbreviated  as  to  represent  the  Coda  only. 

To  the  examples  cited  in  par.  96  (section  4)  may  be  added  the  fol- 
lowing, somewhat  more  significant,  movements: 

^-Brahma,  Svmphonv.^No.  2,  third  movement:  This  would  probably  be  called  a 
Song-form  with  Trio;  but  the  "Trio"  is  derived  from  the  principal  Song,  and  the 
Trio  and  da  capo  are  duplicated,  with  important  changes.  The  design  approaches 
the  First  Rondo  in  character  and  spirit  (with  duplication).  —  Violin  Sonata,  No.  2, 
op.  100,  Andante  and  Vivace;  very  similar.  —  String-quintet,  op.  88,  Grave;  also 
similar.  —  Also,  Beethoven,  Sonata,  op.  54,  first  movement. 


ABBREVIATIONS,  OR  OMISSIONS. 

184.  Thp  r>mksir>fl  qf  ftuJmooitant  thematic  member  is  not  likely 
to  occur  anywhere  but  in  the  Recapitulation,  though  possible  at  other 


points,  especially  in  me 

The  most  common  of  these  abbreviations,  is  the  omission  of  the 
Erin.   Themeafter  t.fa   pwrl"f~">»*    ^   *V"»  g^»oto-ollogr^  fr^-j-n      TTwT 

retransition,  at  the  end  of   the  Development,  leads  directly  into  the 
Subord.  Theme,  instead  of  into  the  Prin.  Theme.    Thus: 


Exposition 

Developm. 

Recapitulation 

Prin.  Th. 

Subord.  Th. 
Codetta 

Retrans. 

Subord.  Theme 
only  (trans- 
posed). Codetta 

Coda 


Compare  this  diagram  with  the  one  in  par.  164  (the  Enlarged  Sona- 
tina-form), which  it  resembles.  The  difference  lies  in  the  character 
of  the  Development:  In  the  Enlarged  Sonatina,  it  is  actually  the  Prin. 
Theme,  in  a  "developed"  form  of  extension;  here  it  is  a  genuine  Devel- 
opment, which  the  Prin.  Theme  would  follow,  were  it  not  omitted. 


LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  185. 

The  omission  is  owing,  usually,  to  the  fact  that  the  Development  deals 
very  largely  with  members  of  the  Prin.  Theme,  and  therefore  ren- 
ders another  announcement  of  the  latter  unnecessary. 

See  Chopin,  pfte.  Sonata  in  i-flat  minor,  op.  35,  first  movement:  The  Develop- 
ment sets  in,  normally,  after  the  double-bar,  and  covers  57  measures,  to  the  "domi- 
nant" at  the  beginning  of  the  retransition;  seven  measures  of  the  latter  lead  into 
the  Subord.  (instead  of  the  Prin.)  Theme. 

Chopin,  Sonata  in  b  minor,  op.  58,  first  movement,  very  similar:  The  first  phrases 
(about  1 6  measures)  of  the  Prin.  Theme  are  omitted,  at  the  beginning  of  the  Re- 
capitulation; then  follows  one  characteristic  (later)  phrase  of  the  Prin.  Theme,  and 
the  transition,  —  leading  to  the  Subord.  Theme. 

Brahms,  Capriccio,  op.  116,  No.  i:  clearly  an  omission  of  the  Prin.  Theme,  at 
the  beginning  of  the  Recapitulation. 

Mendelssohn,  Song  without  Words,  No.  5.  —  Praeludium,  op.  35,  No.  3. 

Mendelssohn,  g  minor  pfte.  Concerto,  last  movement:  The  Subord.  Th.  is  in  the 
same  key  as  the  Prin.  Theme;  in  the  Recapitulation  the  Subord.  Theme  is  omitted, 
but  is  alluded  to  in  the  Coda.  —  In  the  first  movement  of  the  same  Concerto,  the  Re- 
capitulation is  greatly  abbreviated.  —  D  minor  Concerto,  last  movement:  The 
Subord.  Theme,  here  also,  is  omitted  in  the  Recapitulation.  —  Symphony,  No.  IV, 
Saltarello;  the  same.  Rondo  brittante,  op.  29:  The  Prin.  Theme  is  omitted  in  the 
Recapitulation,  but  intimated  in  the  Coda. 

The  example  of  Brahms  (Sonata,  op.  5,  Andante),  cited  in  par.  1780,  might  also 
be  analyzed  as  a  Second  Rondo  form,  with  a  conspicuous  omission  of  the  Prin.  Theme 
as  final  da  capo.  And,  similarly,  the  fairly  numerous  examples  of  Second  and  Third 
Rondo  forms,  in  which  the  final  da  capo  is  merged  in  the  Coda,  or  even  wholly  omitted 
(review  par.  106,  and  par.  127),  may  be  regarded  as  Abbreviated  designs.  A  similar 
omission  of  the  final  Prin.  Theme  in  the  First  Rondo  form  would  appear  to  be  con- 
tradictory; but  this  analysis  is  suggested  in  Beethoven,  Violin  Sonata,  op.  24,  Adagio; 
The  Prin.  Theme  is  a  Three-Part  Song-form  (meas.  1-37);  what  follows  (in  the  op- 
posite mode)  appears  to  be  a  duplication,  but  very  soon  diverges  into  a  fairly  con- 
vincing Subord.  Theme  (17  measures  long);  the  remaining  sections  are  plainly  Coda 
only  —  the  Prin.  Theme,  as  such,  is  omitted. 


DISLOCATIONS"  OF  THE  DESIGN. 


185.  The  a-lfpfalions-^nthe  legitimate  order  of  JJimnalic  members 
to  which  the  name  "Dislocations"  may  be  givenf  appear  only  in  the 

Recapitulation;  and  are  more  common  in  the  Sonata-group  than  in 
the  Kongo-group.  They  do  ndt  admit  ot  specific  classification,  but 
appear  to  be  quTfiT'  arbitrary  and  sometimes  whimsical,  although,  in 
some  cases,  the  reason  is  clear  and  well-grounded.  They  can  best  be 
understood  by  analysis  of  the  following  examples: 


Par.  i86.  IRREGULAR  FORMS.  215 

Brahms,  'Cello  Sonata,  op.  38,  last  movement  —  a  Concert  fugue  (double)  in 
Sonata-allegro  form.  In  the  Recapitulation,  the  Prin.  Theme  appears  after  (instead 
of  before)  the  Subord.  Theme. 

Chopin,  Concerto  in  e  minor,  Romance:  Third  Rondo  form;  in  the  Recapitula- 
tion, the  I.  Subord.  Theme  (at  the  4-flat  signature)  precedes  the  Prin.  Theme,  instead 
of  following  it. 

Mozart,  Sonata,  No.  15  (Schirmer  ed.),  second  movement:  Same  as  the  preced- 
ing<example;ins™a— HHTm^ondo  form,  and  the  I.  Subord.  theme/precedes  the  Prin. 
Therne,  in  the  Recapitulation.  —  ^nnjfi)  Nn  m,  1ml  IIIIH  I'l'lll  III  Till  fuiiu  jj  impm., 
owing  to  the  similarity  of  the  Prin.  Theme  and  I.  Subojrd/Theme:  but  it  is  probably 
a  Third  ITolian-fm^^nra- ^v^^m^^  the 

latter  is  tonowed  py  tbey .  dufionLTherne  (instead  of  the  Prin.  Theme,  which,  how- 
ever, reappears  completely  in  the_Coda).  —  Sonata.  No.  14.  first 


kecapituiabon,  me  ist  Codetta  appears  before  {'"sy-flfl  "+  «""•>  **»  si.k»rrl  'j  h^^?" 

Mendelssohn,  "Midsummer  Night's  Dream,"  Scherzo;  In  the  Recapitulation  of 
this  Rondo  with  Development  (already  cited),  the  two  phrases  of  the  I.  Subordinate 
Theme  are  presented  in  reversed  order  —  the  Consequent  phrase  preceding,  instead 
of  following,  the  Antecedent  phrase. 

Beethoven,  String-quartet,  op.  59,  No.  2,  last  movement:  Third  Rondo  with 
Development;  in  the  Recapitulation,  the  I.  Subord.  Theme  precedes  the  Prin.  Theme. 

186.  Upon  arriving  at  the  conclusion  of  the  Irregular  designs,  the 
student  may  be  inclined  to  assume  that  any  arrangement  of  the  the- 
matic factors  is  possible,  and  may  doubt  the  justice  or  necessity  of 
insisting  upon  any  "regular"  design.  There  is  some  apparent  reason 
for  such  doubt;  and  it  is  probable  that  many  a  fantastic  form  has  been 
composed,  emanating  from  the  untrammeled  imagination,  that  is  quite 
as  effective  and  convincing  as  those  that  accept  the  guidance  of  the 
conventional  lines.  (Witness  the  "Group-forms,"  "Sectional  forms," 
the  "Fantasia,"  and  some  of  the  soul-compelling  products  of  the  "Tone- 
poem"  style.)  But,  in  the  first  place,  the  student's  extensive  analysis 
and  observation  will  convince  him  that  the  legitimate  or  "regular" 
designs  far  outnumber  the  irregular  ones;  and,  in  the  second  place,  he 
will  recognize  that  the  irregularity  is  always  incidental,  rather  than 
essential;  that  it  is  due  to  emotional  and  imaginative  impulses  within 
the  confines  of  the  normal  design,  and  does  not  overthrow  any  vital 
condition  of  the  structural  scheme  as  a  whole. 


EXERCISE  13. 

A.  An  example  of  the  Rondo  with  Development.    Any  instrument  01  ensemble 
may  be  chosen.     Review  notes  to  Exercise  10  ("N.B."). 

B.  An  example  of  the  Sonata-allegro  with  a  Middle  Theme. 


216          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  187. 

C.  A  Sonata-allegro,  with  Independent  Introduction  (and,  perhaps,  Independent 
Coda). 

D.  A  Concert-allegro,  with  "orchestral"  Augmentations,  and  Cadenza. 
J5.  A  Sonatina-form  with  additional  (final)  da  capo. 

F.  A  Scherzo,  in  Sonata-allegro  form,  with  "Trio." 

G.  A  Sonata-allegro,  with  omission  of  the  Prin.  Theme  in  the  Recapitulation. 
H.  An  example  of  the  Third  Rondo  form,  with  reversed  presentation  of  Themes 

in  the  Recapitulation  (i.e.,  the  Subord.  Theme  before  the  Prin.  Theme). 


CHAPTER   XIV. 

ISOLATED   UNIQUE   DESIGNS. 

187.  The  examples  of  Larger  Forms  whose  analysis  follows,  are 
not  classed  among  the  Irregular  designs,  because  they  are  not  in  any 
sense  typical,  but  merely  isolated  specimens  of  unusual  thematic  ar- 
rangement which  do  not  admit  of  ordinary  classification.  Their  justice 
and  effectiveness  is  not  called  in  question,  inasmuch  as,  in  common 
with  all  structural  designs,  regular  or  fantastic,  they  evidently  appealed 
to  the  composers  as  the  most  appropriate  method  of  presentation  for 
the  specific  quality  of  the  music  itself. 

a.  BMthoyep,  Symphony.  Nv   5,  A*"tnirtf     This  is  ostensibly  a  First  Rondo 
form,  and  is  an  illustration,  as  unique  as  it  is  effective,  of  the  "  Expansion  "  of  an  other- 
wise regular  design  by  the  process  of  duplication  (free  repetition  —  see  par.  12^). 
The  Prin.  Theme  is  a  Three-Part  Song-form;  Part  I  contains  four  phrases  (measures 
i,  5,  n,  16),  the  fourth  phrase  practically  a  duplication  of  the  third;   Part  II  is  a 
Double-period  (measures  23,  27,  32,  39);   Part  III  is  a  nearly  literal  recurrence  of 
Part  I  (measures  50-71);  this  is  followed  by  a  modified  duplication  of  Parts  II  and 
III.     (Part  II,  meas.  72-98;  Part  III  represented  by  two  repetitions  of  its  first  two 
phrases,  finally  dissolved,  meas.  99-123);  what  follows  is  a  sort  of  Interlude,  which, 
however,  represents  the  Subord.  Theme,  although  it  contains  no  new  members  (meas. 
124-157);   the  retransition  follows,  and  contains  three  sections  (measures  158,  167, 
176),  the  second  of  which  resembles  the  Prin.  Theme,  but  is  in  the  opposite  mode  and 
obviously  belongs  to  the  act  of  retransition;   the  Prin.  Theme  recurs  in  meas.  185, 
and  is  reduced  to  its  First  Part  only;    the  Coda  begins  in  meas.  206,  and  contains 
four  sections.     (The  Allegretto  of  Beethoven's  7th  Symphony,  cited  at  the  end  of 
par.  173,  is  similarly  "expanded"  by  duplications  of  the  Prin.  Theme.) 

b.  Beethoven,  Symphony,  No.  9,  Adagio,  is  ostensibly  a  First  Rondo  form,  en- 
larged *T>y  dllpliu/Uuii,  aud  tlili  llliiertion  ot  a  LTeVelopment  (as  retransition).     Its 
design  is  thus: 

Prin.  Theme,  B-flat  major  (with  two  measures  of  unessential  Introduction),  a 
Period,  the  Consequent  phrase  of  which  is  repeated,  extended,  and  dissolved; 

' 


3  r    f\  - 


Par.  187.  ISOLATED  UNIQUE  DESIGNS.  2I/ 

Subord.  Theme,  D  major,  a  Period,  duplicated,  extended  and  dissolved; 
Prin.  Theme,  /•'-'! at  major,  complete,  but  modified;   >    Duplication    of    the  first 
Subord.  Theme,  G  major,  complete,  but  modified;      £       presentation. 
Development,  as  retransition; 

Prin.  Theme,  22  measures,  as  before,  cadence  evaded  and  led  into  the  Coda, 
which  embraces  six  sections. 

c.  Somewhat  similar  is  Schubert,  Sonata,  No.  5,  op.  143,  last  movement.    The 
form  is  Sonatina,  enlarged  by  a  duplication  of  the  Exposition: 

Prin.  Theme,  a  minor,  Two-Part  form,  and  transition; 

Subord.  Theme,  F  major,  Three-Part  Period  (three  phrases,  with  all  the  repetitions). 
Retransition  of  three  measures; 

Prin.  Theme,  a  minor,  partly  transposed;     >      Duplication  of  the 

Subord.  Theme,  C  major  (proper  key) ;         £         foregoing. 

Retransition,  42  measures; 

Prin.  Theme,  abbreviated;  > 

Subord.  Theme,  A  major  (proper  key);         \       ^capitulation. 

Brief  Coda. 

d.  Beethoven,  String-quartet,  op.  59,  No.  i,  second  movement.     This  might 
best  be  defined  as  a  Group  of  Themes  —  a  Prin.  Theme,  and  two  Subordinates  —  in 
the  following  order:    Prin.  Theme  (S-flat  major);    I.  Subord.  Theme  (d  minor); 
Prin.  Theme,  reconstructed;    II.  Subord.  Theme  (/  minor,  Three-Part  form,  with 
repetitions);  Development,  as  long  retransition;  Prin.  Theme  (transposed  to  G-flat 
major,  and  with  a  new  contrapuntal  melody);    I.  Subord.  Theme  (g  minor);    Re- 
transition;   Reconstructed  Prin.  Theme  (F  major,  E  major,  d  minor,  S-flat  major); 
II.  Subord.  Theme  (6-flat  minor) ;  Coda,  beginning  in  6-flat  minor. 

e.  Brahms, ist  Pfte.  quartet,  op.  25,  last  movement,  Alia  Zingarese;  A  very  broad 
Third  Rondo  form,  with  several  irregularities;  the  II.  Subord.  Theme  is  a  complete 
"Song  with  Trio";  the  final  da  capo  (Prin.  Theme)  is  abbreviated  by  the  omission  of 
Part  I,  and  merged  in  the  Coda. 

/.  Mendelssohn,  Scherzo  capriccioso,  in  /-sharp  minor:  Fantastic  and  irregular, 
but  approximating  the  Third  Rondo  form.  It  has  the  following  design: 

Prin.  Th.  —  I.  Sub.  Th.  —  Prin.  Th.  (brief).  —  II.  Sub.  Th.  —  I.  Sub.  Th.  — 
Prin.  'Th.  —  II.  Sub.  Th.  —  Prin.  Th.  (brief).  —  Coda. 

g.  Mendelssohn,  Overture  to  "Melusine."  This  might  admit  of  several  ap- 
proximate definitions,  the  most  tempting  of  which  is,  to  declare  the  first  46  measures 
an  Introduction  (par.  178^).  But  these  measures  are  so  significant,  so  genuinely 
thematic,  and  are  interwoven  so  essentially  with  the  texture  of  the  whole,  that  it 
seems  more  reasonable  to  define  them  as  an  additional  Principal  Theme.  The 
presence  of  two  Subordinate  Themes  has  been  demonstrated  (par.  179),  and  this 
suggests  the  possibility  of  a  similar  two-fold  Principal  Theme,  contradictory  as  it 
may  appear.  Further,  an  analogous  structural  idea  is  conveyed,  in  embryo,- in  the 
Basic  motive  which  may  accompany,  and  even  transcend  in  importance,  the  Principal 
Theme  (par.  165).  In  the  above  Overture,  the  graceful  opening  measures,  in  F  major, 
would  be  called  "Prin.  Theme,  A"  and  the  following  dramatic  member,  in/  minor, 
"Prin.  Theme,  B." 


218  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  187. 


Allegro  con  moto 
Prin.  Theme  "A" 


Ex.  < 
61. 


1  9  ,H 

-PTTTTT^ 

-I- 

S  

=^i  

^ 

4 

3^ 

> 

3E      r-^^N1 
-•--+-*•          -^-  - 

^  • 

• 

r^r 

*- 

tfT 

*- 

I 

| 

4BJ 

"^>, 

c~\  *   f* 

-—  •                           -._ 

&r  • 

i^ 

n 

^'uV 

--^^  -.JT 

--^-  

=--»  

=B 

M 


V-J-^ 


t  fogL.J 


etc.,  to 


Transition,  or  Connecting-link 


Agitato 


^3j.TT^W^ 

etc., 


^ 


Prin.  Theme  "B" 


Par.  187. 


ISOLATED   UNIQUE  DESIGNS.  219 

MENDELSSOHN,  "Melusine" 


fc. 


etc. 


ii 


Both  of  these  appear  in  the  Development,  in  the  Recapitulation  (briefly),  and  in  the 
Coda.  As  to  the  rest,  the  movement  is  plainly  Sonata-allegro  form,  with  the  usual 
contrasting  (lyric)  Subord.  Theme. 

h.  Brahms,  ist  pfte.  Concerto,  op.  15,  first  movement.  This  is  similar,  but  less 
pronounced.  It  is  plausible,  perhaps  inevitable,  to  accept  Prin.  Theme  "A"  and 
"B,"  although  "B"  (which  appears  at  the  beginning  of  the  actual  Exposition  —  in 
the  Solo-part),  is  decidedly  less  vital  than  "A,"  which  opens  the  introductory  Ex- 
position, and  pervades  the  movement. 


Maestoso.      Prin.  Theme  "A" 


tr 


zrsn  •    : 

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Si,         M*  r 

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Prin.  Them 

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5      •    ft*      ( 

(    •    • 

»    i    •    •  • 

M        4    ' 

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f    ^      n         f 

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J      J   *   *   •   ' 

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220 


THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  188. 


tan 


^BRAHMS,  op.  15. 


etc. 


^m 


^ 


a 


Other  examples  of  unique  structural  arrangement  might  be  cited, 
but  these  are  sufficient  to  direct  the  student's  attention  to  what  he 
may  expect  to  encounter,  in  his  general  analysis,  especially  of  the  more 
modern  Larger  Forms. 


CHAPTER  XV. 


^_ 


188. 


THE  OVERTURE. 

As   the   name   indicates,   the   Overture    (always   orchestral) 


is  an  opening  number  —  primarily  Of  the  Uraforyt  or  uoera.  It  is, 
BOtWver,  usually  "an  independent  movement,  complete  in  itself,  and 
therefore  may  be  detached  from  its  original  dramatic  associations,  and 
be  employed  as  a  separate  number  upon  any  concert  program.  This 
circumstance  has  given  rise,  in  two  conspicuous  instances  (the  Concert- 
overture  and  the  Tone-poem),  to  a  modified  application  of  the  term 
"Overture,"  whereby,  similar  to  the  occasional  use  of  the  term  "Pre- 
lude," it  may  signify  an  entirely  independent  composition,  with 
general  reference,  only,  to  some  dramatic  subject. 

189.  The  Overture  admits  of  a  five-fold  classification,  as  follows: 

1.  The  Oratorio  Overture; 

2.  The  Dramatic  or  Classic  Overture; 

3.  The  Potpourri  Overture; 

4.  The  Concert-Overture;  and 

5.  The  Tone-poem. 

190.  The  Overture  to  an  Oratorio  is  most  commn^y  fn  nrrhftafral 

fu^ue,  or  other  polyphonic  form,  in  keeping  with  the  dignity  of  the 
sacred  subject;  usually  with  an  independent  Introduction  in  slower 
tempo. 

See  Handel,  the  "Messiah."  —  Mendelssohn,  "Elijah." 


-*£*:, 


Par.  191.  THE 

,- 
191.  The  Dram*Hr  nr  ciaasi^  Qverture  refers  directly  to  a  drama. 

play,  melodrama,  opera,  or  theatrical  presentation  of  any  kind.     Its^" 
title  is  therefore  Usually  personal  —  for  example,  "Hamlet,"  "  Romeo  ^_:.  r* 
and  Juliet,"  "Jh-ometneus,'  "Faust";  or  is  borrowed  directly  from  the  , 
title  of  the  drama  which  it  precedes:  e.g.,  "The  Tempest." 

Its  design  is  almost  invariably  the  Sonata-allegro  fprm,  nftpn  with 
an  independent  Introduction. 

See  Mozart's  operas  "Don  Giovanni,"  "Figaro."  —  Cherubim,  "Medea."  — 
Beethoven,  the  four  Overtures  ("Leonore"  and  "Fidelio")  to  his  opera  "Fidelio." 
—  Wagner,  "The  Flying  Dutchman."  —  Weber,  "Der  Freischutz."  —  Boieldieu, 
"La  Dame  blanche."  —  And  the  Overtures  to  the  dramatic  plavs:  Beethoven. 
"Coriolan,"  "Egmont."  —  Mendelssohn,  "Midsummer  {slight's  Dream."  —  Gold- 
mark,  "Sakuntala." 

See  also,  the  other  Overtures  of  Beethoven  ;  the  Overtures  of  Cherubim,  Mozart, 
Schumann,  Weber. 

Similar  in  purpose,  but  of  inferior  structural  significance,  are  the 

brief  (and  not  detachable)  "Introductions"  or  "Preludes"  to  such 

Operas  as  Verdi's    "Aida";    Wagner's    "Lohengrin,"   "Tristan  und 
Isolde." 


192.  The^  Potpourri-Overture  is  always  connected  with 
orcomic  type  of  Opera,  or  Operetta.     Its  design  is  the  group-form, 
or  sectional  form,  sometimes  approaching  the  regular  arrangement  of  a 
Larger  form,  but  most  commonly  a  mere  series  of  melodic  episodes, 
selected  from  the  Inusic  of  the  opera  ItSelf,  witn  a  view  to  individual 
and  collective  attractiveness. 

See    Flotow,    "Martha."  —  Rossini,   "William  Tell."  —  Also  Wagner,   "Die 

Meistersinger,"  the  Overture  to  which,  though  a  work  of  commanding  contrapuntal 
character,  great  breadth,  and  eminent  artistic  significance,  belongs  properly  to  the 
"Potpourri"  class. 

193.  The    Concert-Overture 

ance,  and  is  therefore,  in  a  sense,  transferred  frnm 
concert  hall.  Thus  it  is,  also,  to  some  extent  sundered  from  the  drama, 
and  divested  of  immediate  connection  with  any  dramatifr  themfr 
(This,  of  course,  refers  to  the  sfecqic  Concert-overture,  and  not  to 
those  Dramatic  Overtures  which  actually  precede  an  opera,  and  are 
merely  inserted  in  a  concert-program  because  of  their  intrinsic  musical 
value.)  For  this  reason,  the  title  of  a  concert-overture  may  be  per- 
sonal  or  i»iipfrcrt"ali  muy  ltjf"'  '"  m  »'»u  -y^^'^&j^tr-  saaed  ur  secular 


history  ("Joan  of  Arc,"  "Samson");    or  in  mythology  ("Hercules' 
Youth");  to  some  abstract  idea  ("  Spring  ");  or  even  to  some  concrete 


222  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  194. 

subject,  if  susceptible  of  poetic  or  emotional  environment,  or  suggestive 
of  shifting  moods  (Mendelssohn,  "Calm  Sea  and  Prosperous  Voyage"; 
"FingaFs  Cave").  Or  it  may  refer  to  the  drama  in  a  more  general 
or  indirect  way,  without  the  necessity  or  the  intention  of  actual  connec- 
tion with  any  Play  which  bears  the  same  name;  for  example,  the 
"Faust "-overture  of  Wagner;  "1812"  of  Tschaikowsky ;  "Melu- 
sine";  "Sakuntala";  —  which  may,  or  may  not,  serve  as  actual  intro- 
duction to  the  corresponding  theatrical  presentation. 

The  form,  .of  the  Concert-overture  is  also  usually  Sonata-allegro; 
but  fa  of  ten  very  broad,  and  may  be  treated  with  much  freedom  (or 
irregularity),  in  omer'Tcr'prByBlS'ToT"  the  brtlMancv^ano!  independent 
effectiveness  imperatively  necessary  in  case  of  isolated  performance. 

In  what  manner  this  classic  design  (the  Sonata-allegro  form)  may 
be  applied  to,  or  may  be  modified  and  adjusted  to,  the  successive 
dramatic  details  of  the  chosen  subject,  must  be  left  to  the  student's 
ingenuity.  Almost  every  drama,  and  even  wholly  abstract  subjects, 
provide  natural  contrasting  episodes,  which  may  be  represented  by 
the  successive  members  of  the  design.  (By  way  of  very  broad  sugges- 
tion: "Hamlet"  and  "Ophelia,"  or  "Romeo"  and  "Juliet,"  would 
naturally  serve  as  types  for  the  Prin.  Theme  and  Subordinate  Theme, 
respectively;  and  other  episodes  would  lend  themselves  plausibly  enough 
to  the  Codettas,  Development,  and  so  forth.)  This  may  shock  the 
enthusiastic  young  composer's  sensitive  poetic  conception;  but  he 
should  know  that  a  musical  composition  with  definite  structural  outlines 
is  invariably  more  powerful  and  convincing  than  one  whose  form  is 
vague,  and  whose  intent  is  uncertain.  And,  further,  if  the  student 
is  wise  enough  to  confine  himself  to  one  strong  general  impression, 
as  central  dramatic  idea  (instead  of  dissipating  this  impression  by 
wandering  through  numerous  accidental  phases  of  the  dramatic 
narrative),  he  may  be  sure  that  the  sequence  of  members  represented 
by  the  Sonata-allegro  form  is  far  more  consistent,  natural,  and  effec- 
tive than  any  arbitrary  design  could  be,  which  he  might  devise.  See 
par.  194,  197. 

See  further:  Brahms,  "Academic  Festival-Overture,"  op.  80;  "Tragic  Overture," 
op.  81.  Weber,  "Jubel-Ouverture."  Mendelssohn,  Overtures,  op.  24,  op.  101. 

194.  The  Tone-poem  or  Tone-picture  is  not  an  Overture,  in  the 
accepted  sense  of  that  term.  But  it  is  more  closely  related  to  that  class 
of  composition  than  to  any  other,  and,  in  fact,  may  best  be  defined  as 
a  development  of  the  idea  embodied  in  the  Concert-overture.  As  the 


^*~*~*>    A-^-4^X 
<A«0-~Jt> 

Par.  195.  THE  OVERTURE.  223 

titlejndjcateSjtiie  Tone-poem  refers  to  some  poetic  idea,  or  narrative; 
most  frequentlvit  adopts  some  motto,  or  some  brief  literary  product. 
either  poetry  or  prose,  as  basis  for  musical  illustration;  and  since  it 
therefore  follows  the  order  ~ol  incMuiTs'or  thoughts  presented  in  the 
motto  or  text,  and  successively  gives  them  musical  expression,  the 

Ideale"  of  Liszt  (a  " description"  of  a  complete  poem  bv  Schillerj. 

The  sectional  form,  or  Group-form,  must  of  necessity  be  adopted, 
because  the  iree  preset  lalluii  uf  an  aibitrary  series  of  dramatic  or 
emotional  episodes  could  scarcely  be  made  to  conform  to  the  firmly  set 
diagram  of  any  regular  Larger  form.  In  this,  as  in  every  other  respect, 
the  Tone-poem  stands  for  the  last  degree  of  freedom,  and  is  farthest  re- 
moved from  the  absolute  musical  conception  which  falls  so  readily  into 
the  pulse  of  the  regular  designs  —  because  these  designs  are  such  true 
and  simple  exponents  of  the  universal  laws  of  structure.  To  what  ex- 
tent, and  in  what  manner,  this  freedom  is  to  be  used,  rests  solely  with 
the  musical  conscience  of  the  composer. 

195.  Music  has  always  been  regarded  and  defined  as  a  vehicle  for  the  expression 
of  emotion  (feeling,  sentiment,  passion),  and  the  reflection  of  "moods."  This  is 
doubtless  true,  inasmuch  as  the  specific  sound  of  the  varied  intervals,  chords  and 
other  tone-combinations  (coupled  with  rhythm  and  dynamics)  does  appear  to  possess 
a  close  and  universally  recognizable  analogy  to  various  emotional  phases;  some 
chords  "sound"  joyous,  and  others  sombre;  some  seem  to  represent  hateful,  others 
amiable,  attributes  (compare  the  "yearning"  harmonies  in  the  first  scene  of  "Die 
Walkiire,"  with  the  deadly  hatred  suggested  by  Hagen's  chords  in  "Die  Gotterdam- 
merung").  But  music  can,  with  its  multitude  of  varying  rhythms,  its  infinite  shades 
of  dynamics,  and  the  direction  and  speed  of  its  lines,  closely  imitate  actual  physical 
movements  and  conditions;  and  may,  therefore,  to  some  extent,  "illustrate"  the 
shifting  motions  of  an  active  narrative:  For  example,  the  slow  or  swift  ascent  or 
descent  of  material  objects,  and  a  multitude  of  natural  sounds  (the  flight  of  an  arrow, 
the  rocking  of  a  boat,  the  gentle  movement  of  a  zephyr,  the  roll  of  thunder,  the  down- 
pour of  rain  —  as  in  the  thunderstorm  in  Beethoven's  6th  Symphony;  the  hollow 
clicking  of  bones,  as  in  the  "Dance  of  the  Dead  "  of  Saint-Saens  ;  the  gallop  of  horse, 
as  in  Raff's  "  Lenore  "-Symphony,  and  Liszt's  "Mazeppa";  the  murmur  of  a  spinning 
wheel;  the  tread  of  giants,  the  clumsy  winding  of  a  dragon,  as  in  Wagner's  "Rhein- 
gold";  —  see  also  the  numerous  "descriptive"  episodes  in  the  first  Part  of  Haydn's 
"Creation,"and  in  the  plague-choruses  in  Handel's  "Israel  in  Egypt";  also,  as  an  in- 
teresting example  of  musical  suggestion,  Bach,  Organ  compositions,  Vol.  V,  Peters 
edition,  No.  13  —  the  pedal-bass  of  the  chorale  elaboration,  Durch  Adam's  Fall  — 
constant  descending  diminished-seventh  progressions). 

But  they  who  would  defend  the  integrity  of  music  declare  that  these  are  all 
purely  external  adjuncts,  not  inherent  qualities,  of  musical  material,  and  that  they 
should  serve  no  other  purpose  than  to  emphasize  lite  inherent  meaning  of  the  tone- 
relations  and  tone-associations;  that  music  can  be,  and  should  be,  an  absolute  art, 


224          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.  Par.  196. 

and  is  not  to  be  applied  to  the  superficial  and  childish  illustration  or  description  of 
anything  outside  of  the  specific  province  of  pure  musical  expression  —  that  its 
noblest  use  is  exemplified  in  the  classic  symphonies  and  Chamber-works,  which  are 
absolute  music-creations,  pure  Music,  per  se.  They  also  voice  the  suspicion  that  the 
composer  who  utilizes  these  exterior  traits  of  music  for  the  illustration  of  physical 
episodes  and  movements,  does  so  from  insufficient  knowledge  of  the  true  meaning  of 
the  musical  "parts  of  speech,"  and  therefore  caricatures,  instead  of  discoursing  in  a 
language  that  is  vastly  more  subtle,  more  searching  and  powerful  in  its  appeal  than 
mere  words  can  ever  be. 

Extreme  views  are  always  wrong.  Everything  that  is,  is  right,  in  its  proper 
place,  and  in  proper  proportion.  All  error  lies  in  exaggeration. 

The  student  is  urged  to  weigh  these  conflicting  opinions  seriously  and  thoroughly; 
to  form  his  own  conviction,  and  to  follow,  unfalteringly,  his  artistic  impulses  and 
beliefs.  (See  Homophonic  Forms,  par. 


The  application  of  what  might  be  called  the  physical  qualities  of 
music,  for  suggestion  and  imitation,  may  be  considered  almost  impera- 
tive in  the  Opera;  in  the  accompaniment  to  Songs;  and  in  that  melo- 
dramatic species  of  the  Tone-poem  called  musical  Recitation  (recitation 
with  "descriptive"  musical  accompaniment  —  as  "Enoch  Arden"  of 
Richard  Strauss). 

196.  Examples  of  the  Tone-poem  are  sufficiently  numerous.  The 
student  will  find  ample  material  for  examination  and  analysis  in  the 
twelve  Sinfonische  Dichtungen  of  Liszt;  but  may  add  to  these  "Till 
Eulenspiegel,"  "Ein  Heldenleben"  and  "Sinfonia  Domestica"  of 
Richard  Strauss  ;  and  any  other  modern  examples  that  he  may  en- 
counter. 


197.  In  the  conception  and  composition  of  the  Overture,  or,  for 
that  matter,  of  any  of  the  Larger  Forms,  the  student  must  bear  the 
following  General  Principles  in  mind: 

1.  The  Themes  should   be  presented   in  a  simple,  clear  manner. 
Cadences  should  be  fairly  frequent,  and  sufficiently  forcible  to  give  the 
hearer  a  clear  impression  of  the  architecture  of  the  movement.    At  least 
from  time  to  time  the  hearer  must  get  his  bearings,  since  nothing  is 
truly  enjoyed  that  is  not  comprehended. 

2.  The  thematic  members  should,  nevertheless,  be  distinctly  charac- 
terized.   A  good  Theme  is  always  easily  recognizable. 

3.  There  must  be  sufficient  symmetry  of  construction,  and  corrob- 
oration  of  members;  this  is  obtained  by  very  frequent  (almost  constant) 
application  of  the  process  of  duplication. 


Par.  197.  THE  OVERTURE.  22$ 

4.  On  the  other  hand,  there  must  be  sufficient  contrast.    This  refers 
to  smaller  as  well  as  to  larger  factors,  and  should  be  fairly  frequent  and 
striking,  though  not  too  abrupt  or  too  extreme. 

The  arch-enemy  of  all  art-creation  is  Monotony,  and  this  must  be 
carefully  avoided.  Hence,  the  process  of  extension  and  expansion  must 
be  freely  employed,  in  order  to  vary  the  phrase-lengths  (distance  be- 
tween cadences);  and  no  end  of  imagination  and  ingenuity  must  be 
applied  in  modifying  the  necessary  repetitions  and  duplications. 

5.  Exaggeration,  in  every  respect,  should  be  guarded  against. 

6.  Clearness  of  design  (for  the  hearer)  and  a  perfectly  sure  con- 
sciousness of  the  successive  steps  in  the  execution  of  the  structural  de- 
sign (for  the  composer),  can  best  be  secured  by  reasonable  regard  for 
the  conditions  of  the  simple,  smaller,  forms.    For  example,  the  natural 
association  of  an  Antecedent  and  Consequent  phrase;   the  relation  of  the 
Parts  (in  the  Song-form)  to  each  other;   the  ever-present  operation  of 
the  principles  of  repetition  or  duplication,  of  parallel  construction,  of 
extension  and  expansion  —  in   the  progressive   structure,   or  in   the 
spinning-out,  of  the  fundamental  phrases  and  periods. 

7.  Perhaps  most  important  of  all,  there  must  be  a  constant  main- 
tenance—  and  increase  —  of  interest;  and  a  constant  forward  striving, 
a  steady  impulse  and  "push,"  that  keeps  the  musical  spirit  thoroughly 
alive.    This  very  element  must,  however,  be  emphasized  by  the  con- 
trasting relaxations,  from  time  to  time,  which  provide  variety,  and  pre- 
pare for  the  next  climax  —  but  without  wholly  checking  the  under- 
current of  energy. 

8.  For    the    Dramatic    Overture,    and    Concert-Overture,    some 
"dramatic"  design  is  necessary.     But  this  should  be  followed  in  its 
broadest  lines,  only,  and  not  so  closely  as  to  hamper  the  purely  musical 
expression,  and  the  adherence  to  an  effective  structural  design  (than 
which,  as  hinted,  none  is  more  reliable  than  one  of  the  regular  forms,  as 
a  rule). 


EXERCISE  14. 

One  example  each,  at  least,  of  the  Dramatic  Overture,  the  Concert-overture,  and 
the  Tone-poem. 


DIVISION   FOUR. 
CHAPTER   XVI. 

THE   COMPOUND   FORMS. 

198.  Compound  forms  are  those  larger  collective  compositions 
which  contain  a  number  of  different  arid  independent  movements.^ 

Jihe  oldest  of  these  is  the  Suite,  which,  however,  being  uiiginally  a 
collection  of  Dances  only,  did  not  utilize  any  of  the  Larger  Forms. 
Later,  some  degree  of  artistic  refinement  was  imparted  to  the  Suite 
by  introducing  one  or  more  numbers  of  a  scholastic  type,  as  the  Prelude, 
Gigue  (contrapuntal)  and  Fugue;  but  these,  also,  required  none  of  the 
Larger  Forms.  The  numbers  of  the  Suite  (and  of  the  Serenade,  Di- 
vertimento, etc.)  were  usually  all  in  the  same  key,  and  the  number  of 
the  Dances,  or  "  Movements,"  was  optional. 

The  more  modern  Suite  is  no  longer  solely  a  collection  of  Dances, 
and  often  contains  some  elaborate  movements,  and  Larger  Forms;  but 
dance-forms  and  allied  types  are  usually  present,  and  complete  freedom 
governs  the  choice  of  styles,  and  the  number  of  movements,  which  are 
thrown  together  more  loosely,  and  not  inter-related,  and  definite,  as 
are  the  movements  of  the  Sonata  or  Symphony  (par.  199;  206). 

See  the  Suite  for  pianoforte  by  d'Albert,  op.  i  (conventional  Dance-forms);  the 
Suites  for  orchestra  by  Franz  Lachiier  ;  the  Serenades  for  String-orchestra  by  Robert 
Volkmann ;  Serenades  for  full  orchestra  by  Brahms,  op.  n,  and  op.  16. 

In  some  cases  the  distinction  between  the  Suite  and  the  Sonata  ap- 
proaches the  vanishing-point,  and  the  titles  are  then  apt  to  be  ex- 
changed. Beethoven  calls  his  op.  26  a  "Sonata  ";  but  the  term  "Suite" 
would  be  more  appropriate,  since  the  four  movements  are  a  set  of 
Variations,  a  Scherzo,  a  Funeral  March,  and  a  "Toccata"  in  Rondo 
form.  And  op.  21  of  Josef  Suk  is  called  a  Suite,  for  no  obvious  reason; 
for  the  first  movement  is  a  genuine  Sonata-allegro  (though  of  a  some- 
what fantastic  character);  the  second  movement  is  a  Menuetto  (which 
claims  a  rightful  place  in  the  Sonata);  the  third  is  an  Adagio  ("Dumka," 
or  Folk-song) ;  and  the  fourth,  a  genuine  Rondo.  Mozart,  Sonata,  No. 
15  (Schirmer  ed.)  might  be  designated  Suite:  its  three  movements  are 
"Allegro,"  "Rondeau  en  Polonaise"  "Theme  and  Variations." 

226 


* 

+r 

Par.  199-  THE   COMPOUND  FORMS.  227 

199.  The  most  artistic  and  significant  compound  form  is  the  Sonata, 
—  not  the  "Sonata-form,"  but  the  complete  Sonata  (par.  142).     Ifie 

early  Sonata  consisted  ot  three  "Movements,JJ  so  contrasted  that  the 
slow  movement  (in  a  different  key)  appeared  between  two  rapid  move- 
ments (in  the  same  key).  The  order  was,  therefore: 

1.  An  Allegro,  of  a  somewhat  serious,  stately,  or  spirited  character; 

2.  An  Adagio •,  Largo,  or  Andante,  usually  lyric,  sometimes  dramatic, 
or  even  elegiac,  and  always  dignified; 

3.  An  Allegro,  Allegretto,  or  Presto,  of  a  more  lively,  gay,  or  brilliant 
character  (often  a  Rondo). 

For  typical  examples,  see  Mozart,  Sonata,  No.  17  (Schirmer  ed.);  also  No.  16. 
Beethoven,  Sonata,  op.  10,  No.  i;  op.  13;  op.  31,  No.  i  and  No.  2. 

200.  To  these  three  movements  there  was  later  added  (in  the  early 
String-quartet,  and  Symphony)  a  fourth  movement,  and  for  this  a 
Dance-form  was  borrowed  from  the  Suite,  to  provide  a  good  contrast 
with  the  original  three  styles.    At  first  the  Minuet  was  chosen,  and 
usually  inserted  as  third  movement: 

Haydn,  any  one  of  the  twelve  well-known  Symphonies.  Beethoven,  Sonata,  op. 
2,  No.  i;  op.  22;  op.  31,  No.  3. 

In  many  instances  a  more  sturdy,  or  rapid,  type  of  Minuet  was  em- 
ployed : 

Mozart,  Symphony  in  E-flat.     Beethoven,  Symphonies,  Nos.  i  and  4. 

And  when  the  "Minuet"  was  still  more  accelerated,  and  assumed 
a  playful  or  humorous  character,  it  was  called  Scherzo. 

Beethoven,  Sonata,  op.  2,  No.  2;  op.  2,  No.  3;  op.  28.    Symphonies,  Nos.  2  and  3. 

Sometimes  this  third  movement,  while  retaining  the  usual  3-4  meas- 
ure and  the  general  character  of  a  Dance-form,  had  no  specific  title, 
but  took  the  tempo-designation  (Allegretto,  Allegro}: 

Beethoven,  Sonata,  op.  7,  Allegro;  Symphony,  No.  3.  Brahms,  Symphony,  No. 
i,  Poco  Allegretto  e  grazioso;  Symphony,  No.  4,  Allegro  giocoso  ("Scherzo"). 

201.  This  association  of  four  movements: 

1.  Serious  Allegro. 

2.  Adagio  or  Andante. 

3.  Minuet  or  Scherzo. 

4.  Brilliant  Allegro. 

became  the  established,  conventional,  form  of  the  complete  Sonata,  and 
any  digression  from  this  scheme  of  movements  is  regarded  as  an  irregu- 
larity. 


228  THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.    Par.  aoa. 

For  example,  the  Scherzo  precedes  the  slow  movement  in  the  second  and  third 
Symphonies  of  Schumann. 

In  Beethoven,  Sonata  op.  27,  No.  i,  the  first  movement  is  omitted  —  the  Sonata 
beginning  with  the  slow  movement;  also  in  the  next  Sonata,  op.  27,  No.  2.  This 
probably  accounts  for  Beethoven's  cautious  title  for  both:  Sonata  quasi  una  Fantasia. 
In  Beethoven,  Sonata,  op.  10,  No.  2,  the  slow  movement  is  omitted.  In  the  Sonata, 
op.  78  (Allegro  ma  non  troppo;  Allegro  vivace)  there  is  neither  a  slow  movement  nor  a 
Minuet.  Op.  90  is  similar.  In  op.  54  (Menuelto;  Allegretto)  the  opening  Allegro  and 
the  slow  movement  are  omitted.  See  also  op.  in. 

In  op.  27,  No.  i  —  as  stated  —  the  opening  Allegro  is  omitted;  but  another  slow 
movement  is  inserted  before  the  final  Allegro.  In  Schumann,  Symphony,  No.  3, 
there  are  five  movements  —  an  additional  slow  movement  preceding  the  final  Allegro. 

202.  a.  As  a  rule,  only  the  slow  movement  is  placed  in  some  other 
(usually  related)  key. 

Thus,  in  Beethoven,  Sonata,  op.  2,  No.  2:  Allegro  vivace,  A  major;  Largo,  D 
major;  Scherzo,  A  major  and  a  minor;  Rondo,  A  major. 

But  other  key-conditions  occasionally  prevail: 

Beethoven,  Sonata,  op.  2,  No.  i  —  all  four  movements  in  the  same  key.  —  Op. 
10,  No.  3;  op.  14,  No.  i;  op.  28  —  similar  (though  the  opposite  mode  appears). 

Brahms,  Symphony,  No.  i :  first  movement,  c  minor;  second  movement,  E  major; 
third  movement,  A  -flat  major;  fourth  movement,  C  major  (Introduction,  c  minor). 
Symphony,  No.  2 :  the  four  movements  are  in  D  major,  B  major,  G  major  and  D 
major,  respectively. 

b.  The  structural  design  of  the  several  movements  is,  to  some  ex- 
tent, optional.  But  the  following  choice  is  most  common: 

For  the  first  Allegro,  the  Sonata-allegro  form;   for  the  slow  move- 
ment, the  First  Kondo  iorm  \ln~tirc-Symphony,  sometimes  Sonatina  or 
"5ohntn  allqrn  tnrm);  for  tiir  IMinnrt  or  Srhrrnfl)  the  3  PnrLSfl.p£  form, 
with  one  or  two  Trios:   for  the  Finale,  the  Second  or  Third  Rondo 
foim,  or,  ™*ra«^'ftflflllv  (especially  in  the  Symphony),  the  Sonata-aliegfO" 
form. 

203.  a.  The  legitimate  complete  Sonata  is  not  a  haphazard  collection 
of  movements,  as  is  the  Suite,  but  is  an  artistic  unit.    Therefore  a  more 
or  less  palpable  organic  relation,  a  certain  unity  of  "mood,"  might  be 
expected  to  prevail  throughout  the  movements.     (This  is  analogous  to 
par.  66,  which  review.)     This  was  evidently  not  demanded  of  the  early 
Sonata  and  Symphony,  which  seem  to  aim,  rather,  to  secure  marked 
contrasts;   but  the  higher  artistic  idea  of  establishing  "spiritual"  re- 
lation between  the  movements,  so  that  they  shall  successively  represent 
progressive  phases  of  the  collective  artistic  purpose  of  the  composer,  b 

-^ 


P«.  203.  THE  COMPOUND  FORMS. 


229 


being  cultivated  in  the  modern  Sonata  and  Symphony  with  increasing 
consciousness.  It  can  scarcely  be  claimed  for  the  earlier  works  of  even 
Beethoven,  but  becomes  increasingly  noticeable  in  his  later  periods; 
and  is  positively  present  in  some  of  the  Symphonies  and  Chamber 
works  of  Brahms. 

b.  The  determination  to  thus  unify  the  Sonata  is  manifested, 
technically,  by  instituting  t^.tuai  thematic  relations  between  the  move- 
ments. 

See  Brahms,  ist  Violin  Sonata,  op.  78.  In  the  first  place,  the  rhythmic  figure 
J  a  J  J  is  conspicuous  in  all  three  movements.  And,  second,  the  Prin.  Th.  of 
the  Adagio  becomes  the  II.  Subord.  Th.  of  the  last  movement. 

Glazounow,  Sonata,  op.  75 :  Movements  one  and  three  are  based  upon  the  self- 

i  &t  r*  i    H 

same  thematic  figure   [(jfo    *  L~t~B»  an<^  l^e  themat'c  melody  of  the  II.  Subord. 
Th.  of  the  second  movement  reappears  in  the  Coda  of  the  last  movement. 
Vincent  d'Indy,  String-quartet,  op.  45 :  The  thematic  figure  of  four  tones 

d'lNDY. 

etc. 


63 


is  adhered  to,  as  basic  motive,  throughout  all  four  movements.  It  occurs  at  the  out- 
set of  each  movement,  but  is  soon  followed  by  other  melodic  members;  and  also 
forms  a  sort  of  thematic  impulse  to  the  other  structural  members  of  the  movements. 

Brahms,  Symphony,  No.  i :  The  Basic  Motive  of  the  first  movement  (given  in 
Ex.  58,  No.  i)  is  reechoed  in  measures  4-6  of  the  Andante. 

Brahms,  pfte.  Sonata,  op.  i :  The  principal  thematic  figure  of  the  first  movement 
constitutes,  in  altered  rhythmic  form,  the  initial  figure  of  the  last  movement;  and 
the  first  phrase  of  the  Scherzo  is  derived  from  the  plagal  ending  of  the  preceding  (slow) 
movement. 

Beethoven,  Symphony,  No.  V:  The  principal  melodic  phrase  of  the  Third  move- 
ment reappears  in  the  last  movement,  in  the  last  section  of  the  Development  (as 
retransition).  Also,  the  rhythmic  figure  J  J  J  |  <J  .  j  is  common  to  the  first 
and  third  movements,  and  reappears,  quickened,  in  the  Subord.  Theme  of  the  last 
movement. 

Beethoven,  Sonata,  op.  101 :  The  initial  phrase  of  the  first  movement  recurs,  as 
quasi  Introduction,  before  the  last  movement. 

Brahms,  Symphony,  No.  Ill:  The  melodic  motive  of  the  Prin.  Th.  in  the  first 
movement,  is  reverted  to,  in  the  independent  Coda  of  the  Finale,  so  that  the  Symphony 
ends,  so  to  speak,  as  it  began. 


230          THE  LARGER  FORMS  OF  MUSICAL  COMPOSITION.   Par.  204. 

Tschaikowsky,  Symphony,  No.  V,  in  e  minor:  The  introductory  motive  of  the 
first  movement  enters  vitally  into  the  structure  of  the  Finale. 

Schumann :  Symphony,  No.  Ill :  The  fourth  (slow)  movement  refers  thematically 
to  the  Finale. 

Florent  Schmitt,  pfte.  quintet,  op.  51:  The  last  movement  contains  Themes  from 
the  first  movement. 

Brahms,  String-quartet  in  c  minor,  op.  51,  No.  i:  The  initial  motives  of  the  first 
and  last  movements  are  identical. 

Brahms,  String-quartet,  op.  67:  The  last  Variation,  in  the  Finale,  reverts  to  the 
Prin.  Th.  of  the  first  movement,  —  similar  to  Symphony,  No.  Ill,  cited  above. 

See  further:    Ce'sar  Franck,  Violin  Sonata  in  A.  —  Liszt,  E-flat  major  pfte. 
Concerto.  —  Saint-Saens,  c  minor  pfte.  Concerto. 

204.  When  written  for  pianoforte  or  organ,  the  term  "Sonata"  is 
employed;  and  even  when  two  solo-instruments  are  chosen  (as  "Duo"), 
the  work  is  more  commonly  called  a  "Sonata"  (Violin  Sonata,  'L,e1to 
Sonata,  etc.). 

TVnen  tfiree  solo-instruments  are  used,  the  work  is  called  a  "Trio" 

,  ^ 

(pfte  Trio,  String  Trio,  Horn  mo,  uiarionet  Trio,  etc.  —  the  latter 
two  always  implying  the  presence  of  the  pianoforte).  AJSonatafor 
four  instruments  is  designated  a  "Quartet,"  and  so  on,  up  to  Septet, 
Octet,  or  even  Nonet.  Wkgn  more  than  this  number  of  instruments 
are  employed,  the  term  "Sinfometta"  or  "Symphony"  is  use^T 

205.  A  Concerto  is  a  Sonata  for  some   solo-instrument,   invariably 
with  nrr,hp,strr$  armrnparprnenr  fpfte.  Concerto,  Violin  Concerto,  etc.). 
in  a  IjouDie-Concerto,  two  solo-instruments  are  engaged:   Brahms,  op. 
102;  Beethoven,  op.  56. 

206.  The  Symphony  is  a  Sonata  for  full  orchestra.     Being  the  most 
serious  and  dignified  form  of  musical  composition,  it  is  not  customary 
to  introduce  into  the  Symphony  any  movements  of  a  less  distinguished 
or  regular  type  than  the  Sonata-allegro  or  Rondo  forms,  —  excepting, 
of  course,  the  conventional  Minuet,  Scherzo,  or  allied  Song-form  with 
Trio.    The  adoption  of  the  Variation  form,  by  Beethoven,  as  Finale  of 
his  III.  Symphony,  and  of  the  Chaconne,  by  Brahms,  as  last  movement 
of  his  IV.  Symphony,  is  therefore  regarded  as  exceptional. 

207.  The  term  Symphony,  or  Symphonic  poem,  is,  nevertheless, 
not  infrequently  applied  to  an  expanded  form  of  the  Tone-poem  (par. 
194).    The  title  seems  to  be  wholly  defensible  in  the  case  of  those 
genuinely  "symphonic"  works  which  reflect  in  a  very  general  way,  and 


Par.  207.  THE  COMPOUND  FORMS.  231 

without  pronounced  detailed  musical  "description,"  some  universal 
idea  or  impression. 

For  example:  The  Forest  Symphony,  and  Lenore  Symphony,  of  Raff ;  the  Ocean 
Symphony  of  Rubinstein ;  the  New  World  Symphony  of  Dvorak ;  the  Columbus 
Symphony  of  Abert ;  "Joan  of  Arc"  of  Moszkowski.  Perhaps,  also,  the  Pastorale 
Symphony  of  Beethoven,  and  the  "Rustic  Wedding"  of  Goldmark,  —  to  which 
category  belongs  the  "Characteristic  Sonata"  of  Beethoven,  op.  8iA,  for  piano- 
forte. 

The  descriptive,  or  programmatic,  quality  is  more  pronounced,  and 
the  symphonic  rank  (as  such)  proportionately  lowered  in  the  "Dante" 
Symphony  of  Liszt ;  "Scheherazade"  of  Rimsky-Korsakoff ;  "Tod  und 
Verklarung"  of  Richard  Strauss;  and  many  other  modern  orchestral 
works,  to  which  the  title  "Symphonic  poem"  is  usually  frankly  given. 


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